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Ginn&  Company 

PUBLISHERS 


TITTf  T«T»<  ^ 


Cjjt  Uational  Utusk  €amst 
THE  NEW 

SECOND    MUSIC   EEADEE 

BASED   LARGELY   UPON   G.   II.   HOHMANN 
GIVING   FIRST   LESSONS   IN 

READING  MUSIC  AT  SIGHT 


WITH    ONE    AND    TWO-PART    EXERCISES    AND    SONGS,    AND 
DIRECTIONS    TO  TEACHERS 


BY 

LUTHER    WHITING    MASON 


BOSTON,   U.S.A.: 

PUBLISHED   BY   GINN   &   COMPANY. 

1891. 


EDUCATIOH  DEPT. 

Copyright,  1886,  by  Luther  Whiting  Mason. 


c  • 


Typography  of  J.  F,  LOUGHUN,  20  Hawley  St.,  Boston. 


Presswork  by  Ginn  &  Co.,  Boston. 


PREFACE. 


The  prevalent  desire  for  novelties  has  led  many  friends  of  this  Method  to 
deprecate  the  retention,  in  these  revisions,  of  so  many  of  the  selections  used  in 
the  first  editions  of  the  National  Music  Course  ;  but  while  the  author 
appreciates  the  full  force  of  the  popular  taste,  he  also  realizes  the  innate  educa- 
tional value  of  this  material,  which  has  become  all  the  greater  for  its  proven 
fitness.  So  much  is  this  the  fact,  that  after  diligent  search  throughout  Europe, 
especially  in  those  centres  where  school  music  receives  the  fostering  care  of  the 
state  and  the  service  of  the  best  intellects,  he  has  found  it  impossible  to 
replace  these  selections,  except  in  a  few  instances,  inasmuch  as  they  are  im- 
portant members  of  a  carefully  considered  and  well  organized  system,  the 
rejection  of  which  would  materially  injure  the  completeness  of  the  whole. 

There  wrill  be  found,  however,  in  the  elaboration  of  the  elementary  portion 
of  this  book,  much  that  is  new  and  helpful  to"both  teacher  and  pupil,  the  use  of 
which  has  been  made  practicable  by  the  general  advancement  of  the  science  of 
teaching  music  in  the  schools  —  amongst  which  may  be  mentioned,  Rhythmic 
Analyses  (by  means  of  Time-Names,  as  originally  invented  by  the  Author  of 
this  work)  ;  Preparatory  Exercises  in  the  Study  of  Two-Part  Singing ;  German 
Chromatic  Pitch-Names,  adapted  to  American  usage ;  Special  Exercises  in  Sing- 
ing Chromatic  Sounds;  Diagrams  of  the  Scale  in  the  Various  Keys;  and  Going 
from  One  Key  to  Another,  —  together  with  suggestions  to  the  teacher,  at  such 
points  as  seem  to  require  particular  treatment. 

In  the  Introduction  will  be  found  interesting  chapters  on  Tune  and  Time ; 
Illustrative  Preparatory  Lessons  for  the  use  of  such  schools  as  commence  this 
course  with  the  New  Second  Series  of  Charts  and  this  Reader. 

Part  IV  contains  Test-Exercises  for  individual  reading,  —  which  is  seldom 
provided  for,  but  which  is  as  necessary  in  the  study  of  music  as  in  that  of 
language,  —  to  inspire  the  pupil  with  self-reliance. 

In  the  Appendix  is  a  full  explanation  of  the  system  and  use  of  Time-Names, 
the  object  of  which  is  to  designate  the  position  of  each  note  in  a  measure  of 
whatever  kind  of  time.  This  system  does  not  pretend  to  teach  or  develop  time, 
but  simply  to  name  the  notes  in  any  given  measure.  It  differs  entirely  from 
the  Cheve  system  of  Time-Names  (which  has  been  adopted  in  the  Tonic-Sol-Fa 
method  in  a  modified  form),  as,  in  this  system,  the  measure  is  the  unit,  while  in 
the  Cheve  system  the  unit  is  a  "pulse  "  or  beat. 

M118273 


JV  PREFACE. 

The  New  Second  Series  oe  National  Music  Charts  are  intended  tc 
accompany  this  Reader,  and  have  received  similar  treatinent  in  their  prepara- 
tion ;  and  both  should  be  used  in  connection,  to  secure  the  best  results. 

Finally,  we  will,  in  this  as  in  former  editions,  call  the  teacher's  attention  to 
the  following  general  directions :  — 

1.  Require  a  good  position  of  the  pupils  while  singing. 

2.  Do  not  allow  them  to  sing  too  loud,  or  to  shout  instead  of  singing. 

3.  Do  not  let  them  heavily  drag  the  rhythm. 

4.  Do  not  permit  coarseness  of  utterance  or  indistinct  articulation. 

5.  From  the  very  first,  aim  at  imparting  a  generally  soft  style  of  singing 
as  the  basis  of  all  expression. 

6.  Encourage  liveliness  and  cordiality  of  manner,  to  preserve  the  buoyancy 
of  the  music. 

Acknowledgments  are  due  to  Mrs.  Adelia  L.  Loughlin,  of  Hyde  Park, 
Mass.,  for  translations  (designated  by  a  -+-)  ;  and  to  Mr.  G.  A.  Veazie,  Jr.,  of 
Chelsea,  Mass.,  and  others,  for  valuable  assistance. 

L.  W.  M. 

Boston,  April,  1886. 


CONTENTS. 


Theory  and  Exercises. 


PACK 

Introduction. —  Tune.     .     .     .      ix 
Time xi 

Beating  Time  .  .  xiii,  xv,  &  xvi 
Illustrative  Lessons  ....  xvii 
Reading  Music  from  Figures  xxiv 
Regular  Notation  ....  xxxi 
Reading  at  Sight  from  the  Staff  .  3 
Exercises  in  Figures,  to  be  written 

in  Notes 11 

The  Scale  Extended  Upwards  .     .     16 
Two  Sounds  of  Equal  Length  in  Each 

Part  of  Two-part  Measure  .  .  18 
The  Dotted  Quarter  ...  23  &  53 
The  Scale  Extended  Downward  .  25 
Preparatory  Exercises  for  Two-part 

Singing 26 

Two-part  Song.     Breaking  in  .     .     30 
The  Chromatic  Scale       ....     38 

Ascending 39 

Descending     .     ....     41 


PAGE 

Sharp-Four 40 

Flat-Seven 42 

Accidentals 42 

Exercises  in  Chromatic  Sounds     .     43 

Key  of  G 46 

Four  Sounds  in  Each  Part  of  (he 

Measure 53,  60,  &  62 

Dotted  Eighth 53 

Key  of  D 58 

"       "A 64 

"      «  E      ........     70 

"      "  F 76 

"      "   B-flat 82 

"      "   E-flat 88 

"      "   A-flat 94 

Going  from  One  Key  to  Another  .   100 

Miscellaneous  Pieces 101 

Test  Exercises 165 


Appendix. —  Time-Names  . 


.  179 


Progressive  and  Miscellaneous  Songs. 


A,  A,  A 49 

All  Yonder  in  the  Meadow  .     .     .  164 

Arise,  Arise 97 

Arrival  of  Spring 95 

At  Distribution  of  Prizes      .     .     .156 

Autumn 162 

Awaking  Song 34 

Before  all  Lands  in  East  or  West  .  154 

Beginning  of  Spring 42 

Briskly  Work 22 

Cease  Sweet  Content  to  Slander    .  119 

Change  of  Seasons 68 

Changes 136 

Cheerfulness 149 

Childhood 66 

Childhood  Pleasures 72 

Cold  the  Blast  may  Blo.v      .    .     .  103 
Come  and  See  how  Happily      .    .     66* 


Coming  of  Spring 116 

Come,  May,  thou  Lovely  Lingerer  .  142 
Come,  Seek  the  Bow'r  ....  141 
Contentment  is  Happiness    .     .     .  138 

Early  Spring  Days Ill 

Evening  Song .61 

Faith,  Love,  and  Hope     ....     45 

False  Pride 127 

First  Days  of  Spring 85 

Friendship 67 

God  the  Lord 51 

Good-Night .153 

Grandmother's  Advice       ....  101 

Happiness 108 

Harvest's  Reward 122 

How  Lovely  are  the  Woods  .  .  80 
How  Lovely,  how  Charming  .  .  74 
Independence-Day 65 


VI 


CONTENTS. 


PAGE 

In  the  Cottage  where  we  Dwell  .  107 
Laughing  and  Singing  .  .  .  .161 
Lo  I  the  Blithesome  Lark    ...     87 

Love  of  Truth 102 

Lullaby 15 

Merrily  ev'ry  Heart  is  Bounding  .  152 

Midwinter 141 

Morning  Awaketh 35 

Morning  Devotion 104 

Morning  Prayer 59 

Morning  Song 40 

My  Country 108 

Never  say  Fail 79 

Night-Song  ........  147 

Now  All  Around  is  Bright  .  .  .114 
Oh !  the  Lovely,  Lovely  May  .     .  136 

On  the  Water 157 

Our  Fatherland 162 

Our  Father 37 

Patriotic  Song 142 

Peace 72 

Picnic  Song 137 

Praise  of  Singing 54 

Praise  of  Song 17 

Procrastination 155 

Providence 84 

Rural  Delights 158 

Song  of  Praise 124 

Song  of  the  Woods 114 

Sowing  Flowers 78 

Spring  Morning 36 

Spring  Song      .  120 

Spring  Wandering  Song      ...    52 

Students'  Song 160 

Summer  Joys 135 

Sunday  Song 36 

Sweet  Rural  Scene 83 

Sweet  Spring    .......     96 

Swiss  Herdsman's  Song  ....     98 

The  Alpine  Shepherd      .     .     .     .121 

The  Beautiful  World      ....     50 

The  Bee  in  Flow'ry  Dell     .     .     .157 

The  Bee's  Lesson 126 

The  Bell 89 

The  Blind  Boy 131 

The  Birth-Day 150 

The  Bugle's  Song 128 

The  Call  to  Prayer 63 

The  Chase    ........  117 


PAGE 

The  Chinese  Golden  Rule    ...     82 

The  Eventide 56 

The  Evening  Twilight    .     .     .     .158 

The  Farmer's  Boy 106 

The  Flow'ret 62 

The  Fountain   .  90 

The  Fount  of  Joy 139 

The  Good  Neighbor 92 

The  Grove,  the  Grove     ....  132 
The  Grove  ('Tis  near  &c.)  .     .     .150 

The  Harvest  Time 146 

The  Herdsman's  Happy  Home      .  110 

The  Hunter's  Prize 81 

The  Joys  of  Innocence  ....     71 

The  Lambkin 48 

The  Lark  Pours  Forth    .     .     .     .143 

The  Moon 63 

The  New-Years'  Song     ....  163 
The  Nightingale's  Answer  .     .     .  128 

The  Night  is  Gone 21 

The  Rain 132 

The  Ramble 113 

The  Rising  Sun 33 

The  Shepherd-Boy 125 

The  Shower 87 

The  Silv'ry  Moon  Advances     .     .     55 

The  Sly  Cat 19 

The  Sparrow 130 

The  Swiss  Boy 134 

The  Two  Voices 109 

The  Violet 112 

The  Wanderer's  Return  ....     75 

The  Water  Lily 13 

The  Wild  Bird's  Song    ....     91 

The  Worm 126 

Through  Thy  Protecting  Care      .     83 

To  the  Lark 122 

Travelling 86 

Trust  in  God    .......     13 

Truth  and  Honesty 57 

Vacation-Song 148 

Wandering  Song 123 

We  Know  a  Land 140 

When  the  Day  with  Rosv  Light  .  105 
Wild- Wood  Flowers  .     1     ...     92 

Wilmot 19 

Winter  Song 24 

Wisdom  of  Youth 69 


INTRODUCTION 


TO  THE 


NEW  SECOND  RATIONAL  MUSIC  READER 


Multum  in  Parvo.9' 


INTRODUCTION. 


I -TUNE. 

The  object  of  this  Introduction  is  to  aid  such  teachers  of  common 
schools  as  know  but  little  about  music  to  teach  a  class  of  children 
from  eight  to  eleven  or  twelve  years  of  age  to  sing  through  the  follow- 
ing course.  It  is  very  natural  to  suppose  that,  as  this  is  the  Second 
Reader,  corresponding  with  the  Second  Series  of  Charts,  it  is  necessary 
to  have  gone  through  the  First.  But  it  is  not  so.  The  First  Reader 
and  Charts  are  designed  for  children  from  five  to  eight  years  of  age, 
and  are  not  adapted  to  interest  children  beyond  that  age. 

We  have  therefore  prepared  this  Introduction  to  the  Second,  to  be 
used  instead  of  the  First,  Series  of  Music  Charts  and  First  Music 
Reader,  for  children  the  majority  of  whom  are  over  eight  years  of 
age. 

We  would  suggest  as  a  course  in  rote-singing, — ■ 

(1.)  The  following  songs  from  the  Second  Reader  (only  the  melody 
of  each) : 

"The  Night  is  Gone,"  page  21.  "Evening  Song/'      page  61. 

"Awaking  Song,"            "     34.  "  Song  of  Praise,"       "  124. 

"Morning  Awaketh,"     "     35.  "The  Bee's  Lesson,"   «  12G. 
"Praise  of  Singing,"       "     54. 

(2.)  The  Scale. —  The  teacher  having  written  the  diagram  shown 
on  page  xviii  of  this  book  upon  the  blackboard,  the  scale  is  to  be 
learned  by  rote  as  a  tune,  and  is  not  to  be  explained  nor  talked  about 
at  present.  It  should  be  sung  both  by  the  numerals,  or  scale-names, 
and  by  the  syllables,  ascending  and  descending. 

In  every  school  where  there  has  been  no  regular  instruction  in  sing- 
ing, the  teacher  may  expect  to  find  three  classes: 

1.  The  positively  musical. 

2.  The  passively  musical. 

3.  The  negatively  musical. 


X  IXTRODUCTIOH. 

The  positively  musical  are  those  who  have  been  accustomed  to  sing 
at  home,  in  school,  or  in  Sunday-school,  so  thaf  they  can  sing  several 
eongs  by  rote,  and  are  glad  of  the  opportunity  to  learn  more  in  this 
way. 

The  passive  class  are  those  who  have  sufficient  musical  talent,  but 
it  has  never  been  called  into  exercise. 

The  negative,  are  those  who  have  a  talent  for  music,  but  have  been 
led  to  believe  they  had  not,  by  hearing  it  said  that  "  there  was  no 
music  in  the  families "  to  which  they  belong;  and  their  parents  and 
friends  oppose  music  in  schools,  saying  it  is  a  waste  of  time  and 
money,  and  an  injustice  to  those  who  cannot  learn  to  sing,  etc. 

The  proportion  of  the  positive  class  to  the  other  two  will  depend 
upon  the  influences,  musical,  that  have  been  brought  to  bear  upon 
them  up  to  the  ages  of  eight  or  nine  years.  If  the  children  have  been 
accustomed  to  hear  singing  at  home,  at  school,  and  in  Sunday-school, 
and  have  not  been  discouraged  by  their  parents  and  friends  in  their 
first  attempts,  there  will  be  but  very  few  of  the  negative  class. 

In  commencing,  let  the  teacher  direct  her  attention  to  the  positive 
class.  Do  not  urge  those  who  have  not  been  accustomed  to  singing 
to  join  in  the  exercises  at  first.  If  any  in  their  first  attempts  sing  out 
of  tune,  the  teacher  should  ask  them  to  listen;  but  do  not  discourage 
them.  Give  them  to  understand  that  this  is  one  way  to  learn  to 
sing, —  that  is,  to  listen. 

By  way  of  encouragment,  let  the  teacher  establish  some  test  of 
improvement.  Our  test  is  the  scale.  Let  the  teacher  find  out:  How 
many  can  sing  the  scale  alone;  How  many  can  sing  up  and  down 
three  sounds  of  the  scale  correctly;  How  many  five  or  six  sounds; 
and  encourage  those  who  are  disposed  to  try,  by  telling  them  that  if 
they  can  learn  to  sing  the  scale  up  and  down  correctly,  they  can  learn 
to  read  music. 

"Veazie's  Music  Primer,"  which  is  published  by  Messrs.  Gikk  & 
Co.,  will  be  found  valuable  at  this  stage  of  work,  as  it  contains  a  care- 
fully prepared  set  of  progressive  scale-exercises  in  figures,  easy  of 
comprehension,  and  admirably  calculated  to  lead  the  pupil  on  toward 
the  study  of  staff  notation.  Full  directions  are  given  in  the  work  for 
the  teacher's  guidance;  and  as  it  quite  inexpensive,  there  is  no  reason 
why  any  teacher  should  be  without  its  aid. 


II.— TIME. 

Have  you  ever  observed  children  following  a  band  of  Music, —  how 
with  lengthened  strides  they  will  endeavor  to  keep  step  to  the  meas- 
ured strains  of  the  march  ?  or  the  boy  with  his  clappers,  giving  out 
in  smart,  clear  clicks  the  well-defined  rhythm  of  some  popular 
song, —  this  without  any  knowledge  of  music  as  a  science,  and  only 
exhibiting  a  latent  sense  of  that  rhythm  which  is  in  and  through  all 
Nature? 

If  a  boy  marches  well,  keeping  step  to  the  music,  or  plays  his 
clappers  with  more  or  less  rhythmical  accuracy,  we  say  that  the  child 
keeps  "good  time,"  or  is  a  good  timist. 

Now  this  sense  of  Time,  like  that  of  Tune,  is  not  equally  possessed 
by  all  children  at  first.  To  some  it  is  just  as  natural  to  sing  or  play 
in  time  as  it  is  to  breathe;  to  others  it  is  a  matter  of  development; 
and  to  say  that  a  child  who  does  not  at  once  show  the  ability  is  there- 
fore incapable  of  attaining  its  possession,  is  unjust. 

We  give  our  school-children  a  fair  trial  in  regard  to  tune,  and  with 
abundant  success;  let  us  be  as  fair  in  the  matter  of  time. 

We  require  precision  in  pitch  when  singing  the  sounds  of  the  scale. 
We  must  be  just  as  particular  to  require  precision  in  time,  in  order 
to  insure  success  in  reading  music  at  sight. 

Precision  of  movement  shall  be  the  text  of  this  chapter;  and  this 
should  be  the  teacher's  aim  in  her  efforts  to  awaken  "Time,  in  her 
classes, —  trusting  to  the  influence  of  the  models  of  song  presented  in 
the  course  of  study  to  round  off  all  the  sharp  angles  and  finally  pro- 
duce a  liberty  of  movement  which  shall  never  degenerate  into  license, 
but  which  shall  always  be  pure,  free,  and  graceful,  and  under  the  firm 
control  of  an  educated  will. 

Although  there  is  a  wide  difference  of  opinion  among  our  native 
singing-teachers  relative  to  the  matter  of  teaching  time,  it  is  never- 
theless true,  that  the  surest  and  best  results  have  followed  in  the  train 
of  those  teachers  of  the  past  and  present  age  who  have  faithfully  and 
persistently  held  to  the  so-called  "old  fashioned"  mode  of  heating 
time  with  the  hand* 

*  Dr.  John  Hullah,  Inspector  of  Music,  in  his  Report  on  the  Examination  in  Music  of  the  Stu 
dents  of  Training  Schools  in  Great  Britain  for  the  year  1872,  says  :  «'If  I  were  to  point  out  any 
single  shortcoming  which  in  the  course  of  these  examinations  has  struck  me  more  frequently 


Xll  INTRODUCTION. 

Wherever  tms  method  has  been  been  loyally  tried,  it  has  worked 
successfully;  and  where  it  has  proved  unsuccessful,  its  failure  may  be 
fairly  attributed  to  want  of  care  and  lack  of  persistent  effort  in  its 
teaching.  Beating  time  is  in  itself  alone  an  art  which  requires  as 
careful  a  training  to  master  as  do  any  of  the  beautiful  calisthenic  exer- 
cises which  are  the  grace  and  pride  of  many  a  school-room;  and  it 
should  for  a  time  be  classed  as  a  special  study,  and  a  few  minutes 
daily  devoted  to  careful  drill  in  its  positions  and  movements. 

The  following  directions  may  serve  to  assist  the  teacher  in  com- 
mencing the  study  of  "Beating  Time "  as  an  Art.  It  must  be  remem- 
bered, however,  that  from  the  very  first  attempts  the  class  must  be 
carefully  scrutinized,  all  laggards  spurred  up  to  work  briskly,  and 
kind  encouragement  given  to  those  who  are  willing,  but  awkward,  in 
their  trials.  After  one  series  of  classes  have  acquired  the  art,  it  will 
be  Tery  easy  to  keep  it  up. 

THE    ART   OF    BEATING   TIME    WITH   THE    HAND. 

It  is  supposed  that  the  sense  of  time  has  been  developed  to  some 
degree,  unconsciously,  by  means  of  rote-singing.  The  pupils  are  now 
to  acquire  the  art  of  reading  music  from  the  notes;  and  this  includes 
the  ability  to  give  each  note  in  a  measure  its  right  length,  as  well  as 
the  right  pitch,  and  that  without  any  aid  from  the  teacher. 

The  experience  of  centuries  teaches  that  the  best  way  to  do  this  in 
singing  is  by  some  method  of  beating  time  with  the  hand.  History 
also  shows  that  all  substitutes  for  this  —  such  as  metronomes,  impro- 
vised pendulums,  pinching  one's  self,*  etc. — are  failures  so  far  as  they 
tend  to  develop  the  ability  to  read  music  independently  as  to  time. 

POSITION   FOR   BEATING   TIME. 

Sit  or  stand  erect,  poising  forward  a  little,  with  active  chest.  Place 
the  elbows  at  the  side,  just  far  enough  back  t©  allow  the  middle  finger 
of  the  right  hand  to  touch  the  centre  of  the  palm  of  the  left. 

than  any  other,  it  would  not  be  in  what  is  called  'a feeling'  for  tunebat  for  time.  I  attribute  this 
in  a  great  measure  to  the  insufficient  attention  given  to  •  beating  time  '  with  the  hand.  The  in- 
disposition of  students  to  do  this,  and  their  clumsiness  in  doing  it,  are  the  best  tributes  to  its 
usefulness." 

♦  There  is  a  method  now  before  the  public  which  recommends  the  pupils'  pinching  themselves, 
that  they  may  "feel  the  time  all  through  them."  Such  is  the  straining  for  "new  departures" !  To 
suppose  that  a  thing  must  always  be  new  to  be  good,  is  about  as  shallow  as  to  take  everything  to  be 
good  because  it  is  new.  Let  us  hold  fast  to  the  good  that  we  have  till  we  have  proved  something 
else  to  be  better. 


INTRODUCTION.  Xlll 

The  Downward  and  the  Upward  motions  should  be  from  the  wrist 
only.  This  is  very  important,  as  it  will  not  tire  the  pupils  so  soon,  and 
they  will  be  less  liable  to  jerk  the  body  while  beating.  Some  children 
will  require  special  instruction  and  drill  in  this,  as  they  will  not  be 
able  at  first  to  make  much  motion  from  the  wrist.  A  good  plan,  per- 
haps, is  to  direct  the  pupils  to  seize  the  right  wrist  with  the  left  hand 
in  a  firm  grip,  and  then  to  move  the  right  hand  up  and  down,  like  a 
pigeon's  wing  in  Hying.  The  teacher  can  do  this  while  the  pupils 
imitate  her,  and  most  of  them  will  get  a  clear  idea  of  the  motion 
from  the  wrist. 

The  teacher  may  now  proceed  somewhat  as  follows:  — 


LESSON  I. 

BEATING   TWO-PART   MEASURE. —  POSITION. 

Teacher.     Attention ! 

[The  pupils  give  their  attention.] 

T.     Place  your  hands  as  I  do  mine! 

[a.  The  teacher  places  her  hands  so  that  the  end  of  the  middle  finger  of  the 
right  hand  shall  rest  in  the  centre  of  the  palm  of  the  left,  and  draws  the  elbows 
well  back,  bringing  the  forearms  into  a  horizontal  position,  quite  close  to  the 
body.  The  pupils  imitate  her  with  more  or  less  success  at  first,  but  finally  all 
do  it  very  well ;  for  it  is  not  very  difficult.] 

T.  You  are  doing  very  well  indeed.  Now  watch  me,  and  do  as 
I  do! 

[6.  The  teacher  raises  her  hand  from  its  horizontal  position  to  a  nearly  up- 
right one,  by  a  quick  motion  from  the  wrist  only,  and  keeps  her  hand  in  that 
position.     The  pupils  imitate  her.] 

T.  [  With  her  hand  still  in  upright  position.]  When  I  say,  Position 
for  beating  time,  I  wish  you  to  place  your  hands  as  you  have  them 
now.     Watch  me  again,  and  do  as  I  do.     Attention! 

[Teacher  drops  her  hands  at  her  sides.     The  class  imitates  her.] 

T.     Very  well.     Position  for  beating  time! 

[Many  of  the  pupils  understand,  and  take  the  position  promptly;  some  move 
indolently,  others  place  the  left  hand  above  the  right,  and  so  on.] 


xiv  INTRODUCTION. 

T.  Some  of  you  did  quite  well.  But  I  want  you  all  to  do  it  well; 
and  to  do  that,  you  must  be  smart,  quick,  about  it. 

When  I  say,  Attention,  drop  your  hands  at  your  sides.     Attention! 

[Teacher  drops  hands  at  her  sides.     The  pupils  imitate  her.] 

T.     Position  for  beating  time! 

[Teacher  again  takes  position,  as  at  b,  and  the  pupils  imitate  her  more  success- 
fully, as  a  class,  than  at  first.  As  this  is  the  first  step,  it  will  be  better  to  be 
quite  sure  of  it  before  proceeding  farther;  and  it  may  need  several  trials  to 
enable  all  to  take  the  position  promptly.] 


LESSON  II. 

TWO-PART   MEASURE   CONTINUED. —  BEATING. 

Teacher.     Attention ! 

[Teacher  and  pupils  drop  their  hands  at  their  sides.] 

T.     Watch  me,  now,  and  notice  what  I  do. 

[Teacher  places  her  hands  in  position  for  beating  time ;  then,  bringing  the 
right  hand  down  into  the  position  described  at  a,  asks, — ] 

T.     Which  way  did  my  hand  go  then? 

Pupils.     It  went  down. 

T.  Yes;  and  we  will  call  it  the  Downward  Beat,  and  this  [raising 
the  right  hand  to  position  b,]  the  Upward  Beat;  and  the  two  beats  we 
will  call  a  measure.  Now  watch  me,  and  tell  me  how  many  measures 
I  beat: 

♦Downward  beat,  upward  beat  Downward  beat,  upward  beat. 

P.     Two  measures. 

T.     Very  good.     Now  you  may  try.     Position  for  beating  time  ! 

[Pupils  take  position.] 

T.     Beat  two  measures. 


*  In  these  lessons  the  teacher  will  say  nothing  about  accent;  but  will  be  careful  to  give  an  em- 
phasis  to  the  syllable  or  word  Down,  in  naming  the  down  beat,  in  all  measures,  and  a  slight  stress 
to  the  word  Right,  in  naming  that  beat  in  four-part  measure,  and  be  careful  that  the  class  imi- 
tate her  in  this  respect.    This  is  better  than  talking  too  much  about  accent  at  first. 


INTRODUCTION.  XV 

[The  teacher  and  class  beat  two  measures,  naming  the  beats,  and  then  four ; 
and  continue  until  a  fair  degree  of  uniformity  and  precision  of  movement  is 
established.] 

In  nearly  all  classes  there  will  be  found  some  pupils  who  are  inclined 
to  keep  the  hand  in  constant  aimless  motion.  Such  require  particular 
attention,  and  should  be  led  to  observe  that  after  each  beat  the  hand 
remains  perfectly  quiet;  also,  that  the  motions  should  be  quick  and 
decisive,  but  without  noise  from  the  hands. 

At  this  stage,  if  desirable,  the  lessons  in  singing  from  figures  can 
be  taken  up,  and  carried  as  far  as  Exercise  25. 


LESSON  III. 

BEATING   THREE-PART   MEASURE. 

T.     Attention!    You  will  notice  again  what  I  do. 

[Teacher  places  her  hands  in  position  for  beating  time,  and  gives  the  down-beat, 
saying  Down;  then  moves  the  right  hand  smartly  to  the  left,  so  that  the  base  of 
the  thumb  shall  touch  the  body,  saying  Left ;  and  from  that  upward  to  the  first 
position,  saying  Up; —  these  three  movements  being  done  with  steadiness,  and 
with  a  studied  angularity,  that  each  motion  may  be  perfectly  clear  to  the  pupils.] 

T.     How  many  beats  did  I  make  then? 

P.     Three. 

T.     What  did  I  call  them? 

P.     Down,  Left,  Up. 

T.  Good!  That  is  called  Beating  three-part  measure.  Watch  me, 
and  tell  me  how  many  three-part  measures  I  beat:  [beating]  Down, 
Left,  Up;  Doivn,  Left,  Up;  Doivn,  Left,  Up;  Down,  Left,  Up. 

P.     Four  measures. 

T.  Very  well.  You  may  try:  Position  for  beating  time!  Beat 
two  measures  of  three-part  time,  naming  the  beats. 

[Pupils  try,  but  find  it  more  difficult  than  beating  two-part  measure.  The 
teacher  patiently  encourages,  until  a  fair  degree  of  proficiency  is  attained;  when 
Exercises  in  Figures  from  No.  26  to  No.  36  may  be  taught. 


XVI  INTRODUCTION. 

LESSON  IV.  , 

BEATING   FOUR-PART  MEASURE. 

T.     Attention!     Watch  me  again,  and  notice  what  I  do. 

[Teacher  places  her  hands  in  position,  and  gives  the  down-  and  left-beats 
naming  them;  then  says  Rightjinoxing  the  right  hand  from  the  body,  the  fingers 
sweeping  over  the  palm  and  resting  upon  the  fingers  of  the  left  hand* ;  then  from 
that  to  the  first  position,  saying  Up.~\ 

T.     How  many  beats  did  I  make? 

P.     Four. 

T.     What  did  I  call  them?  - 

P.     Down,  Left,  Right,  Up. 

T.  Yes.  That  is  called  four-part  measure.  Look  again,  and  tell 
me  how  many  four-part  measures  I  beat:  [beating']  Down,  Left, 
Rigid,  Up ;  Down,  Left,  Right,  Up. 

P.     Two  measures. 

T.  Very  good.  Now  you  may  try :  Position  for  beating  time! 
Beat  one  measure.     Beat  two  measures.     Beat  four  measures. 

[There  will  be  found  little  difficulty  with  this  kind  of  measure  if  two-part 
and  three-part  have  been  thoroughly  taught.  The  Exercises  in  Figures  may 
now  be  concluded. 


*  In  the  beating  of  four-part  measure,  the  attention  of  the  teacher  is  called  particularly  to 
the  position  of  the  right  hand  after  the  performance  of  the  right-beat;— its  fingers  resting  upon 
those  of  the  left  (and  not  on  the  palm,  as  after  the  down-beat).  It  is  essential  that  this  position 
be  carefully  explained  to  the  scholars,  as  it  will  be  of  great  value  to  them  hereafter  in  the  prac 
tice  of  Time-Names. 

Time-Names.  Time-names  should  not  be  used  in  connection  with  the  first  practice  of  the  art 
of  beating  time,  but  should  only  be  taught  in  connection  with  the  study  of  staff-notation  ;  and  not 
then,  until  the  sense  of  tune  and  time  has  a  certain  degree  of  development.  They  will  then  be 
found  a  most  valuable  auxiliary  in  the  study  of  singing  at  sight,  provided  they  are  used  always 
with  the  beating  of  the  time  by  the  hand.  A  keener  sense  of  rhythm  will  thus  be  established 
in  the  mind  of  the  pupil,  especially  as  regards  the  minute  subdivisions  of  measure,  enabling  him 
finally  to  grasp  with  ease  and  confidence  the  Motives,  Sections,  and  even  Phrases  of  his  exercises 
and  songs. 


ILLUSTRATIVE     LESSONS 

PREPARATORY    TO     THE    NEW    SECOND     SERIES     MUSIC    CHARTS,     AND 
NEW   SECOND    MUSIC    READER. 


For  pupils  from  eight  to  ten  or  eleven  years  of  age. 


LESSON  I. 


Teacher.  Many  of  you  can  sing  several  songs  which  you  have 
learned  by  rote,  or  by  hearing  other  people  till  you  were  able  to  join 
in  singing  them;  and  it  will  be  very  pleasant  for  you  to  learn  more 
songs  in  that  way.  You  are  now  old  enough  to  take  pleasure  in 
learning  to  read  music,  as  you  can  now  read  words  which  you  at  first 
learned  to  speak  by  hearing  other  people  talk,  or  by  rote.  If  you  are 
very  attentive,  and  all  who  can  sing  will  do  the  best  they  can,  you 
will  make  rapid  progress. 

All  listen  to  me! 
[Teach*3*" 


T.     All  may  sing  as  1  aia. 

[Eight  or  ten  of  the  class  sing  correctly,  and  the  teacher  should  he  very  careful 
to  let  the  whole  class  share  the  credit.~\ 

T.     That  is  very  well.     I  will  sing  again,  and  you  notice  in  which 
direction  my  voice  seems  to  go  in  passing  from  one  sound  to  another. 

[Teacher  sings  the  ascending  scale.] 

Pupils.     Your  voice  went  up  as  by  steps. 

T.     That  is  a  very  good  answer.     Listen  again,  and  notice  which 
way  my  voice  goes. 


XV111 


INTRODUCTION. 


[Teacher  sings  the  descending  scale.] 

* 
P.     Your  voice  went  down. 

T.     Yes.     I  will  sing  upwards,  as  I  did.  at  first,  and  you  count  the 
number  of  sounds  I  sing  one  above  the  other. 

[Teacher  sings  the  ascending  scale.] 

P.     Eight. 

T.     You  may  sing  eight  sounds,  as  I  did. 

[A  large  proportion  of  the  pupils  sing  correctly.] 

T.  I  am  glad  to  hear  so  many  of  you  sing  so  well. 
These  eight  sounds  are  calle*d  "The  Scale,"  or  "Musi- 
cal Ladder."  They  are  named  from  the  lowest  sound 
upwards,  thus:  One,  Two,  Three,  Four,  Five,  Six, 
Seven,  and  Eight.  Instead  of  writing  the  names  out 
in  full,  it  is  usual  to  write  only  the  figures,  1,  2,  3, 
4,  5,  6,  7,  and  8.  I  have  drawn  eight  lines,  one  above 
another,  to  represent  the  Scale  or  Music-Ladder,  and 
have  written  the  figures  upon  the  lines;  also,  the  sylla- 
bles Do,  Ee,  Mi,  Fa,  Sol,  La,  Si,  Do,  which  are  some- 
times sung  instead  of  the  Scale-names,  as  they  sound 
better.  As  soon  as  you  know  the  sounds  of  the  Scale 
— •11  ^ud  with 

Ifor. 


8 

Do 

7 

Si 

6 

La 

5 

Sol 

4 

Fa 

3 

Mi 

2 

Re 

1 

D< 

These  e| 
may  also  < 
of  a  souna 


t  they 
)  pitch 


We  need  now  to  be  able  to  tell  how  long  to  sing  a  sound.  If  the 
class  will  be  very  attentive,  I  will  try  to  show  them  how  to  do  this  by 
means  of  beating  the  time. 


INTRODUCTION. 


xu 


LESSON   II. 

DICTATION-EXERCISES  UPON  THE   SCALE, 

WITH  BEATING   TIME. 

TWO-PART     MEASURE. —  SOUNDS   ONE   BEAT   LONG. 

Teacher.     You  may  all  rest,  now,  and  listen  to  me;   but  be  very 
attentive,  and  notice  what  I  do. 

[Teacher  beats  and  sings.] 


s 


*=t 


s 


s 


La    la     la    la     la     la     la    la     la     la      la    la     la      la      la      la. 

T.     What  did  I  do? 

Pupils.     You  sang  two  of  each  of  the  sounds  of  the  scale. 

T,     You  may  sing  as  I  did,  beating  the  time. 

[It  is  done  correctly.] 

T.  That  was  well  done.  You  may  sing  the  scale  downward,  be- 
ginning with  Eight,  in  the  same  way  as  you  sang  it  upward. 

[The  pupils  do  it  correctly.] 

T.  I  fear  you  will  become  tired  if  you  sing  all  the  time;  so  I  will 
form  the  class  in  two  divisions,  in  order  that  one  division  may  rest 
while  the  other  sings. 

Those  on  my  right  we  will  call  the  First  Division,  and  those  on  my 
left,  the  Second  Division. 

I  wish  you  to  sing  the  scale  up  and  down  in  this  way,  namely:  the 
First  Division  to  sing  the  first  measure,  and  the  Second  Division  to 
sing  the  second  measure,  and  so  on. 

You  must  continue  to  beat  the  time,  whether  you  sing  or  not.  In 
this  way  each  division  will  rest  during  every  other  measure. 

Now  !  all  ready,  and  see  if  you  understand  what  I  want  you  to  do. 

[Enough  of  the  pupils  in  each  division  understand  so  as  to  do  it  very  well.] 
T.     You  have  done  that  much  better  than  I  thought  you  could. 


XX 


INTRODUCTION. 


SOUNDS   TWO   BEATS   LONG. 

T.     You  may  all  rest,  now,  and  listen  to  me.     Notice  what  I  do. 
[Teacher  beats  and  sings.] 
2. 


I* 


La 


la 


la 


la        la 


la 


la. 


P.     You  sang  each  sound  of  the  scale  two  beats  long. 
T.     You  may  beat  and  sing  as  I  did. 

[Pupils  beat  and  sing  correctly.] 


I 


SOUNDS   ONE   BEAT   AND   TWO   BEATS   LONG. 

T.     Listen  to  me  again,  and  tell  me  if  I  sing  something  new. 
3. 


i 


4 


^ 


H=^ 


-?- 


La   la 


la 


la   la   la 


la   la 


la 


la   la 


I 


-F? 


la 


W 


:•  r 


p 


n 


la   la 


la 


la   la 


la 


la   la   la 


la   la 


la. 


[The  pupils  will  not  comprehend  this  so  readily  as  the  exercises  presented  be- 
fore. If  they  fail  to  understand  by  singing  La,  the  teacher  may  sing  the  syllables. 
This  will  make  it  easier  to  perceive  that  the  first  three  sounds  are  of  the  same 
pitch,  and  so  on ;  then  the  pupils  will  be  able  to  turn  their  attention  to  the  dif- 
ference in  length.  Lead  them  to  know  that  there  are  three  Ones,  the  first  two 
being  each  one  beat  long,  the  third  two  beats  long,  and  so  of  the  other  sounds 
of  the  scale. 

Require  the  pupils,  first  to  sing  the  exercise  by  the  scale-names;  second, 
by  the  syllables.  Have  the  pupils  sing  by  divisions, —  two  measures  each. 
If  not  too  tiresome,  have  the  exercise  sung  downward,  repeating  the  Eight. 

If  the  pupils  have  not  become  quite  proficient  in  beating  two-part  measure  at 
this  stage,  it  will  be  well  to  give  further  special  attention  in  this  direction  be- 
fore proceeding  to  the  next  lesson,  which  is  in  triple  time ;  as  a  proper  perform- 
ance of  beating  three  -part  measure  will  depend  largely  upon  their  proficiency 
in  two-part  measure.] 


INTRODUCTION 


XXI 


LESSON  III. 

DEVELOPMENT   OF  THREE-PART   MEASURE. 

T.     Who  can  tell  what  I  sing  now,  that  is  different  from  anything 
I  have  sung  before. 

[Teacher  sings.] 


I 


*     1     T~T 


La       la       la        la       la       la        la       la       la 


la   la 


I 


S3 


i 


t=t 


la   la   la   la    la   la   la   la 


la 


la   la 


la. 


P.     You  sang  three,  of  every  sound  of  the  scale. 
T.     Yes.     I  will  sing  the  same  again,  and  you  may  tell  me  which 
one  of  the  three  I  sing  loud. 

[Teacher  sings.] 

P,     You  sang  the  first  of  the  three  loud,  and  the  other  two  soft. 
T.     Yes.     You  may  sing  as  I  did. 

[Pupils  sing  correctly.] 

T.     That  is  right.     This  kind  of  measure,  with  three  parts— one 
loud  and  two  soft  —  is  called  a  three-part  measure. 


LESSON  IV. 

SPECIAL  DRILL  IN   BEATING  TRIPLE-TIME. 

T.  In  three-part  measure,  there  are  three  different  motions  of  the 
hand.  The  first  beat  is  the  same  as  in  two-part  measure.  The  second 
beat  is  made  by  bringing  the  hand  smartly  to  the  left,  so  as  to  touch 
the  body.  The  third  beat  brings  the  hand  into  position  for  the  down- 
beat of  the  following  measure. 


xxu 


INTRODUCTION. 


[The  pupils  are  to  practise  this  kind  of  measure,  saying,  while  beating,  Down, 
Left,  Up,  till  the  class  can  do  it  perfectly,  accenting  the  down-beat.  When  this 
is  accomplished,  they  will  be  able  to  do  the  following  dictation  exercises.] 

EXERCISES  IN  THE  SCALE  WITH  TRIPLE  TIME. 

T.  I  will  sing  the  last  exercise  while  beating,  then  I  want  you  to 
do  it. 

[The  teacher  sings  the  exercise  and  the  pupils  do  the  same,  being  careful  to 
accent  the  down-beat.] 

T.  That  is  very  well.  Now  you  may  sing  it,  by  divisions,  one 
measure  at  a  time,  up  and  down  the  scale. 

[This  is  done  correctly.] 


LESSON  V. 

FOUR-PART  MEASURE. 

T.  You  may  sing  four  of  each  of  the  sounds  of  the  scale,  by  the 
syllables. 

[The  pupils  sing.] 

T.  That  is  very  well.  You  may  sing  the  same  exercise  again,  and 
accent  the  first  and  third  sounds  in  each  measure,  the  first  a  little 
louder  than  the  third. 


5. 


8 


Tf 


»i  i  i  i'J-4  J  J'J  3  J  «' 


Do  Do  Do  Do  Re  Re  Re  Re  Mi  Mi  Mi  Mi  Fa  Fa  Fa  Fa 


i 


i 


*=*trrrr 


Sol  Sol  Sol  Sol   La   La  La   La     Si    Si    Si    Si     Do    Do    Do   Do. 


[The  pupils  sings  the  exercise  very  well.  The  leading  singers  show  that  they 
feel  the  time,  or  recurrence  of  the  accent, —  some  by  an  extravagant  nod  of  the 
head,  some  by  throwing  forward  the  whole  body,  and  others  by  stamping  their 
feet, —  all  quite  unconsciously.] 


LNTRODUeTION,  XX1U 

T.  You  observed  the  accented  parts  very  well;  but  it  was  very- 
funny  to  see  the  different  motions  you  made  as  you  became  interested 
in  keeping  the  time.  Regular  practice  in  beating  the  time,  will  pre- 
vent these  awkward  motions  of  the  body  and  stamping  of  feet. 

[The  pupils  may  now  take  position  for  beating  four-part  measure.] 

T.  The  four  beats  in  Quadruple  Time;  are  :  Down,  Left,  Right? 
and  Up. 

The  Down  beat  is  made  the  same  as  in  double  and  triple  time,  by 
bringing  the  tip  of  the  middle  finger  of  the  right  hand  into  the  cen- 
tre of  the  palm  of  the  left. 

The  Left-beat  is  made  like  that  of  triple  time. 

The  Right-beat  is  made  by  bringing  the  fingers  of  the  right  hand 
from  the  body  onto  the  fingers  of  the  left  hand. 

The  Up-beat  is  made  by  bringing  the  hand  up  again  to  the  position 
for  making  the  Down-beat. 

Now  sing —  by  the  syllables  —  the  last  exercise,  beating  the  time. 

The  pupils  do  as  directed. 

T%     Now  sing  by  divisions,  up  and  down. 

[The  pupils  do  it  correctly.] 

T.  I  am  very  glad  you  have  become  so  much  interested  in  learning 
how  to  sing  the  scale,  in  the  different  kinds  of  time,  that  you  have 
not  asked  for  any  songs.  If  you  go  on  in  this  way,  you  will  soon  be 
able  to  read  music  well  enough  to  learn  songs  by  the  notes,  without 
having  ever  heard  them  sung  before. 


HEADING  MUSIC  FROM  FIGURES. 


EXPLANATORY. 

Pupils  are  supposed  to  have  already  had  so  much  explanation  and 
practice  in  the  major  scale  as  to  be  able  to  sing  the  sounds  in  order, 
ascending  and  descending;  also  to  sing  any  sound  of  the  scale  by  the 
syllables,  when  called  by  the  teacher.  In  dictation-exercises,  the 
teacher  should  always  call  the  sounds  by  the  scale-names,  but  the 
pupils  should  sing  the  syllables  in  response. 

They  are  also  supposed  to  have  been  taught: —  Double  time,  in- 
cluding the  manner  of  beating  the  same,  as  Down-beat  and  Up-beat, 
accenting  the  Down-beat;  Triple-time,  with  the  manner  of  beating  the 
same, —  Down-beat,  Left-beat  and  Up-beat,  accenting  the  Down-beat; 
Quadruple-time,  with  the  manner  of  beating  the  same, —  Down-beat, 
Left-beat,  Right-beat  and  Up-beat,  accenting  the  Down- and  Right- 
beats. 

For  convenience  in  reading  music,  the  measures  are  indicated  by  ver- 
tical lines  called  bars.  At  the  end  of  an  exercise  or  -tune,  two  lines 
are  used,  called  a  double-bar. 

Pupils  are  now  told  that,  instead  of  the  teacher  calling  the  sounds 
of  the  scale,  they  are  to  sing  from  the  figures,  1,  2,  3,  4,  5,  6,  7,  and 
8.     This  will  be  reading  the  sounds  of  the  scale  by  figures. 
As  to  the  length  of  sounds,  they  are  to  be  made  to  understand: — 
(1.)     That  a  figure  with  a  comma  after  it  means  that  the  sound  is 
to  be  one  beat  long. 

(2.)  That  a  figure  with  a  dash  after  it  means  that  the  sound  is  to 
be  two  beats  long. 

(3.)  That  a  cipher  with  a  comma  after  it  means  that  we  are  to 
rest,  or  keep  silent,  one  beat;  and  a  dash  after  a  cipher  means  that 
we  are  to  rest  during  two  beats. 

By  this  arrangement  of  figures,  with  commas  and  dashes  after  them, 
we  know  which  sound  of  the  scale  to  sing,  and  how  long  to  sing  it; 
also,  how  many  beats  to  rest  or  keep  silent. 

The  teacher  will  explain  the  above  from  the  blackboard,  and  then 
practise  from  the  books. 


INTRODUCTION  XXV 

What  makes  it  more  difficult  to  read  music  than  it  is  to  read  common 
language  is,  that  in  reading  music  you  have  to  think  of  two  things 
at  the  same  time: — ■ 

First,  you  have  to  think  which  sound  of  the  scale  you  are  to  sing. 

Second,  you  must  think  how  long  you  are  to  sing  each  sound;  so 
that  learning  to  read  music  correctly  and  intelligently  causes  us  to 
think  quickly,  and  do  things  accurately,  more  than  any  other  study. 

Third,  if  you  sing  the  words  of  a  song  or  exercise,  instead  of  sing- 
ing the  scale-names  or  syllables,  Do,  Re,  Mi,  Fa,  etc.,  it  increases 
the  difficulty  very  much.  For  that  reason,  you  should  practise  easy 
music  with  words,  that  you  may  overcome  the  difficulties  all  by  your- 
selves. You  should  also  have  credit  for  it,  as  well  as  in  your  other 
studies. 

THE   FIRST  TWO   SOUNDS   OF  THE   SCALE. —  TWO-PART   MEASURE. 

l^l,  |  2,  0,  |  2,  2,  |  1,  0,  ||  \,  1,  |  2,  2,  !  1,  2,  |  1,  0,  || 
I,'  1, 1 1,  0,  |  2,  2,  I  2,  0,  I  1,  2,  j  1,  1,  |2,   2,  |  1,  0,  || 

Love-ly    May,      Love  -  ly   May,        Drives  the   chill-ing   winds  a  -  way. 
COMMENCING   WITH   THE    UP-BEAT. 

1,'j-l,  2,  |  1,  1,|  2,  1,|  2,   2,11,  2,  jl,  1,  |  2,  2,|  1,  || 

I     saw  the   smil-ing,  gold-en    sun,  Sink    to  his  rest  when  day  was  done. 
THE   FIRST  THREE   SOUNDS   OF  THE   SCALE. 

1,5'2,  |  3,  0,  |  3,  2,  |  1,  0,  ||  6i,   2,  |  3,  2,  ,3,  2,  |  1,  0,  || 

1,7'2,  |  3,  0,  j  3,  2,  |  3,  0,  |  3,  2,  |  1,  2,  |  3,  2,  |  1,  0,  || 

1,8"2,  |  3,  0,  |?2,  3,  |  2,  0,  |  1,  2,  |  3,  2,  |  3,   2,  |  1,  0,  || 

3*2,  |  1,  0,  |?2,  3,  |  2,  0,  |  3,  3,  |  2,  2,  |  1,  2,  |  1,  0,  || 


XXVI  INTRODUCTION. 

10. 

1,  1,1  2,  2,  |  3,  2,  |  3,  0,|  3,  3,  |  2,  2,'|  3,  2,  |  1,  0,  || 

Work  with  God  up  -on   thy    side;       This  will  keep  thy  heart  from  pride. 
COMMENCING   WITH   THE   UP-BEAT. 

I,  |  2,  1,  |  2,  2,  |  3,  2,  |  3,  3, 1 2,  1,  |  2,  3,  |  2,  2,  J  1  || 
1,  J 1,  2,  |  3,  3,  |  2,   1,  |  2,  2,  |3,  2,  1 1,  2,  |  3,  2,  |  1,  || 

Come,  one  and    all,   a-round  me  stand,And  praise  our  goodly    na  -  tive  land. 

SKIPPING   OVER  TWO   OF  THE   SCALE. 
13.  14.  ? 

1,   2,  |  3,  0,  |  3,  2,  |  I,  0,  ||  1,  3,  |  2,  2,  |  1,  3,  |  1,  0,  || 
1,'  1,  |  2,  0,  |  2,  2,  |  3,  0,  |  3,  2,  |  3,   1,  |  2,  2,  1 1,  0,|| 

Bells  do    ring,         bells  do     ring,  In   the    for  -  est  birds  do  sing. 

THE  FIRST  FOUR  SOUNDS   OF  THE  SCALE. 
16.  ? 

1,  2,  |  3,  0,  |  3,  4,  |  3,  0,  |  3,  4,  |  3,  2,  |  1,  2,  |  1,  0,  || 
1,'fi,  I  3,  0,  I  2,  3,  ]  4,  0,  |  3,  2,  |  1,  3,  \2,  2,  |  1,  0,  || 

Sun-shine  bright,      Sun-shine  bright,  Comes  to      fill    us   with   de  -  light. 
SOUNDS  TWO   BEATS  LONG. 

1-  |  1,  1,  |  2-  |  2,  2,  |  3,  3,  |  4,  3,  |  2,  2,  j  1-  || 
>  |  1,  1,  |  2,  2,  |  3,  0,  ]  4-  |  3,  3,  |  2,  2,  |  I,  0,  || 

Hark  I   to    the     bu  -  gle    call,        Hark  I  how  it    sum-mons   all. 

SKIPPING  FROM    ONE   TO  THREE,   TWO  TO  FOUR,   THREE   TO  ONE,  AND 

ONE  TO   FOUR. 
20.  21.  ? 

1,  3,  |  2,  4,  |  3,  2,  |  1-  ||  3,  1,  |  4,  3,  |  2,  2,  |  1-  || 


INTRODUCTION.  XXV11 

22 

1,'  3,  |  1,  0,  |  2,  4,  |  2,  0,  |  3,   1,  |  4,  3,  |  2,  2,  |  1-  || 

Fair  Spring  days,        Joy-ous   days,        Give  for  them  to     God  all   praise. 

COMMENCING    WITH    THE    UP-BEAT. 
23 

1,  |1,  2,  |  3,  1,(2,  3,  |  4,  2,  |  3,  2,  |  1,  3,  |  2,  2,  |  1,  || 

The      sun   to  cheer  us  brings  the  day,  And  bless-es    with  his    set-ting    ray. 

THE    FIRST   FIVE    SOUNDS    OF   THE    SCALE. 
24. 

1,  2,  |  3,   2,  |  3,  4,  |  5,   0,|  5,  4,  |  3,  4,  |-3,   2,  |  1,  0,  || 

25. 

1,    2,  |  3-  |  3,   4,  |  5-  |  4,   4?|  3?>3,  |2,   2,  |  1-  || 

Trust  in     God,    trust  in     God,   Who    all  bless-ings  pours    a  -  broad. 

TRIPLE    OR   THREE-PART   MEASURE. 
26. 

1,    1,    1,  |  2,    2,    2,  1 3,    3,    4,  |  5-    0,  |  4,    4,    4,  | . 
3,    3,    3,  |  2,    3,    2,11-      0,|| 

27. 

1,    1,    2,  |  3,    3,    4,  |  5,    4,    3,  |  2-    0,  |  2,    3,    4,  | 

See    how  the       set -ting    sun   fades    in     the     west!  Birds    of       the 

5,    4,    3,  |  4,    3,    2,|1-    0,|| 

green-wood    are     gone    to    their  rest. 

COMMENCING   WITH   THE   UP-BEAT. 
28 

1,  |'l,    2,    3,  |  4-    3,|    2,    3,     4,  |  5-     5,  |  4,    3,    2,  | 
1-    3,  |  2,    3,    2,  |  1-  || 

29 

1,  |  1,  2,  3,  |  2,  0,  2,  |  2,  3,  4,  |  3,  0,  3,  |  2,    3,   4,  | 

Thou  star    of    the  night,        So      high  and     so  bright,       I      gaze  on    thy 

5,  5,  4,  |  3,  3,  2,  |  1,    0,  || 

beau  -  ty  with  heart-felt  de  -  light. 


xxvi  ii  introduction. 

SKIPPING  OVER  TWO  AND   POUR. 
30.  31. 

1,  3,  |  5-  |  5,   3,  |  1-  ||  1,  3,  |  5,   3,  |  4,  2,  |  1-  || 

32 

1,    1,    3,  |  5,    0,    0,  |  1,    1,    3,  |  5,     0,    0,  |  4,    3,     2,  , 

Let     us     join  hands,  Let     us    join  hands,  This  pledge  of 

3,    1,    3,  I  5,    4,    2,  |  1,  0,   0,  || 

love  friendship    ev  -   er     de-mands. 
33  «* 

1,   2,  |  3,  1,  |  4,   1,  |  5,  0,  |  5,   4,  |  3,   5,  |  2,   5,  |  1,   0,  || 

34. 

1,    1,    2,  |  3,    2,    1,  [5,    4,    3,  |  2-    0,  |  2,    3,    4,  | 

Let      ev  -  'ry    crea  -  ture   sing  praise   to    the    Lord,  Let      ev  -  'ry 

5,    3,    1,|  4,    3,    2,  I  1-    0,11 

crea- ture   sing  praise   to      the   Lord. 

THE   PIRST   SIX   SOUNDS   OF   THE   SCALE. 
35  ? 

1,  2,  |  3,  4,  |  5,  G,  |  5,  0,  |  6,  5,  |  4,    3,  |  2,    2,  |  1,    0,  || 

38. 

1,  2,  |  3,  3,  |  2,  2,  1  l,  1,  |  3,  4,  |  5,  5,  |  4,  4,  |  3,    0,  || 

Kind,pro-tect-ing  God  in    heav-en,  Good-ness  from  thee   ev-er    flows; 

2,  3,  |  4,  4,  |  3,  4,  |  5,  5,  |  6,    6,  |  5,  4,  |  3,  2,  1 1,  0,  || 

Thou  has  sent  me  sweet-est  sluinber,Strengthen'd  me  with  sweet  re  -  pose. 

QUADRUPLE   OR   POUR-PART   MEASURE. 
37 

l,'2,    3,    4,  I  5,    5,    5,   5,  I  4,   3,    2,   1,|  2,   2,    2,    0,  | 

Tho'  my   cot     be   poor   and   scan-ty,    'T  is      a    hap  -  py  home  for    me ; 

2,  3,  4,   5,  I  6,   6,  6,    6,.|  5,-4,   3,    2,  |  1,   1,   1,   0,  || 

I   shall  dwell  in   peace  and  plen- ty,      If    my  soul  cou- tent- ed    be. 


INTRODUCTION. 


XXIX 


39. 


38  P 

1,  3,  5,   0,  |  1,    4,   6,   0,  |  1,    5,    6,    4,  |  2,    5,    1,    0,  || 

0,|| 

o,!l- 


1,  3,    5,   3,  |  4,   6,    5,   0,  |  1,   3,   5,   3,  |  4,   6,  5, 

Birds  that  in    the     for  -  est  throng,      Sing     a     joy-ful,    hap-py   song 


6,  4,   2,   0,  |  5,   3,   1,   0,  |  4,   2,   3,   1,  |  5,    5,   1, 

Sing  with  glee,  all  the   day,  In    the  love-ly   month  of  May. 


ALL  THE   EIGHT   SOUNDS   OF   THE   SCALE. 


40. 


1,    2,  |  3,  4,  |  5,    6,  |  7,   8,  |  8,    7,  |  6,   5,  |  4,   3,  |  2,   1,  || 
1,412,  |  3,  2,  |  3,  4,  |  5,  0,  |  6,  7,  |  8,   7,  |  6,   7,  |  8,   0,  || 

0,|| 
0,  II 


42. 


1,  |  3,    2,   3,    4,  |  5-    3,    8,  |  7,    6,    5,    4,  |  3- 

When  will   the  winds  be     soft   •  er,  When  will     the   fields   be   green, 


5,    |  8,   7,   6,    5,  |  5-    3,    5,  |  6,    4,    3,     2, 1 1- 

Come   May  thou  love-ly       lin  -  g'rer,  We '11  hail  you     for     our  queen. 
TWO-PART   SINGING. 

Divide  the  class  into  two  equal  parts,  taking  care  to  have  a  few  of 
the  leading  voices  on  each  part.     Beat  the  time  with  care. 


43. 

FIRST        ( 
DIVISION.  J 

o,  o, 

3,  3, 

0,0, 

3,  3, 

o,o, 

4,  3, 

2,2, 

1_l 

SECOND     J     ~t         O 
DIVISION.   ^     ±)     ^? 

0,0 

1,  2, 

0,0, 

4,  3, 

0,  o, 

2,2, 

1-1 

44. 

FIRST       (    q      Q 
DIVISION.  J     *-*?     "? 

2,  2,  1  0,  0, 

0- 

4,4, 

3,  3, 

o,  o, 

0- 

SECOND     IOC) 
DIVISION.   v     ^5     UJ 

0,  0,  j  .1,  1, 

1- 

0,  0, 

o,  o, 

2,  2, 

2- 

|8,  4, 

5,4, 

0,  **),  0, 

o,o, 

5,4, 

3,  2, 

1- 

1 

(0,0, 

0,  0, 

3 

f  2- 

3,4, 

o,  o, 

3,  2, 

1- 

1 

XXX 


INTRODUCTION. 


45. 


FIRST 
DIVISION. 


SECOND 
DIVISION. 


46. 

FIRST 
DIVISION. 

SECOND 
DIVISION. 


(0,0, 
H  2, 


0,0, 

5,6, 

7,8, 

o,o, 

0/0, 

4,3, 

2,1, 

3,4, 

0,0, 

7,8, 

8,7, 

6,5, 

o,o, 

2,1, 

0,  0,  |  0,  0, 

1,  3, 

5- 

o,o, 

0,    0 

5,  3, 

1- 

1,  1,  |  3,  3, 

0,  0, 

0- 

5,  5, 

3,    3 

o,  o, 

1- 

47. 


FIRST 
DIVISION. 


SECOND 
DIVISION. 


0,0, 
2,3, 


8,  8, 

7,7, 

0,  0 

, 

0- 

o,o, 

o,o, 

5,  3 

i 

2- 

o,  o, 

0,0, 

6,  6, 

5- 

5,  5, 

6,  5, 

0,0, 

0- 

0,0, 

3,4, 

5- 

o,  o, 

o,  o, 

6,  7, 

8- 

4,4, 

0,  0, 

0- 

f 

;,  5, 

6,  5, 

6,  7, 

8- 

1 

48. 


FIRST        (" 

DIVISION.  J 

5,  3, 

6,4, 

5,  3, 

6- 

o,o, 

0,  0, 

o,  o, 

0- 

SECOND     1 
DIVISION.  *• 

o,  o, 

0,  0, 

o,o, 

0- 

5,  3, 

6,4, 

5,3, 

6- 

(5,3, 

o,o, 

6,4, 

o,  o, 

3,  6,  |5,  4, 

3,2, 

1- 

1 

(0,0, 

5,3, 

0,0, 

6,4, 

M 

i,  |  5,  4 

? 

3,2, 

1- 

1 

k 


REGKJLAR,   NOTATION. 

•  The  foregoing  plan,  of  reading  only  by  the  figures  or  syllables  of  the 
scale,  does  very  well  to  begin  with;  but  you  should  soon  outgrow  this 
grade  of  musical  existence,  as  a  frog  outgrows  the  tadpole  and  breathes 
no  longer. as  a  fish,  but  with  head  out  of  water. 

All  you  have  learned  of  the  scale  and  measures  in  the  preceding 
lessons  we  shall  retain;  and  it  will  aid  you  very  much  to  understand 
the  reading  of  music  by  the  regular  notation.  We  will  add  to  the 
scale  diagram  the  pitch-names  of  each  sound. 


LESSON  I. 


THE   LETTERS   AND   G-CLEF. 

(1.)  The  pitch  of  sounds  is  named  by  the  first 

seven  letters  of  the  alphabet:  a,  b,  c,  d,  e,f,  and  g. 

(2.)  You  see  by  the  diagram,  that  the  pitch  of 

One  is  c\  Two  is  d;  Three  is  e;  Four  is/;  Five  is  g; 

Six  is  a;  Seven  is  i;  and  Eight  is  c. 

(3.)  You  will  notice  that  c  is  used  as  the  pitch 
for  both  One  and  Eight.  We  distinguish  the  c's 
by  the  number  of  marks  over  them;  the  pitch  of 
One  is  called  "  once-marked  c  "  and  of  Eight, "  twice- 
marked  c." 

(4. )  Upon  the  fifth  degree  of  the  scale  you  /:ffiz\ 
will  observe  this  character,  which  is  called  the  \sB/ 
g-Clef  or  Key,  and  always  stands  for  that  letter  or 
pitch. 

We  have  already  sung  exercises  in  three  kinds  of  measures:  Two- 
part  measures,  Three-part  measures,  and  Four-part  measures. 

You  will  need  no  further  instruction  about  measures  for  our  present 
practice;  only  you  must  remember  that  the  first  tick  or  count  of  every 
measure  is  louder  than  the  others:  or,  is  "accented." 


8 

c 

Do 

7 

b 

Si 

6 

a 

La, 

5 

gg 

ySol 

4 

f 

Fa 

3 

e 

Mi 

2 

d 

Ee 

1 

0 

Do 

XXX 11 


INTRODUCTION. 


LESSON  II. 

NOTES   AND   RESTS. 

I  will  explain  to  you  the  different  kinds  of  notes  used  to  show  the 
difference  in  the  length  of  sounds;  also  the  rests,  which  show  how 
long  to  be  silent.  This  is  best  shown  by  four-part  measures,  in  the 
following  manner: — ■ 

T.     Tell  me  how  many  La's  I  sing  while  drawing  the  circle. 

[Teacher  makes  a  circle  while  she  sings,  thus :] 


h 


p* 


La 


la 


la 


la. 


P.     Four. 


[Teacher  makes  the  dividing  lines,  thus :] 

T.     I  have  divided  the  circle  into  four  equal  parts. 
What  is  each  part  called? 
P.     A  quarter. 

[Teacher  points  to  each  quarter  while  she  sings.] 


La 


la 


la 


la. 


T.     How  long  was  that  sound  which  I  sang  to  each  quarter? 
P.     One  tick  or  count. 

[Teacher  places  a  quarter-note  in  each  quarter  of  the 
circle,  thus :] 

T.  I  will  write  a  note  in  each  quarter  which  shall 
stand  for  a  sound  one  tick  or  count,  and  will  name 
them  Quarter  Notes. 

T.     You  may  tell  me  how  many  sounds  I  sing  while  drawing  an- 
other circle. 


1/^ 

^\2 

(  r 

r  \ 

V  r 

r  / 

:l\ 

^yz 

INTRODUCTION. 


XXX111 


("Teacher  draws  and  sings  :J 


La 


la. 


:l 


P.     Two  —  each  two  quarters  long. 

T.     I  see  you  comprehend  what  I  am  "up  to." 

[Teacher,  dividing  the  circle  into  halves  by  a  horizontal  line,  and  then  into 
quarters  by  dots  vertically,  places  half -notes  upon  the  dotted  lines  dividing  the 
quarters,  thus:] 


T.  I  have  placed  a  note,  as  you  see,  above  the  line 
which  divides  the  circle  into  halves,  and  which  stands 
for  a  sound  as  long  as  two  quarters;  also,  one  under 
the  line  for  the  other  two  quarters.  What  name 
will  you  give  to  these  notes? 

P.     Half-notes. 

T.     How  many  quarters  do  you  sing  to  a  half-note? 

P.     Two. 


[Teacher  draws  a  circle  and  sings :] 


i 


La. 


T.     How  many  sounds  did  I  sing  in  this  circle? 
P.     One. 


[Teacher  divides  the  circle  into  quarters  by  dots,  and  places  a  whole  note  in 
the  centre,  thus :] 

T.  This  note  lasts  through  all  the  four  quarters. 
If  we  call  the  notes  in  the  first  circle  quarter-notes 
and  those  in  the  second,  half-notes,  what  name  shall 
we  give  to  this  last  note? 

P.     A  ivhole-note. 


XXXIV 


INTRODUCTION. 


T.     Yes.     Only  the  most  attentive  will  be  able  to  tell  me  how  many 


*-t-f- 


■*=£ 


m 


La     la    la    la     la     la     la     la. 


[Teacher  draws  a  circle,  divides  it 
into  quarters,  and  sings.] 

P.     Eight! 

[Teacher  divides  each  quarter,  thus :] 

T.  Yes:  I  sang  two  sounds  to  each  quarter.  You 
sing  two  sounds  to  each  quarter  while  I  point. 

[Pupils  sing  correctly.] 

T.     How  many  equal  parts  in  this  circle? 

P.     Eight. 

T.     I  will  write  the  notes,  two  of  which  are  equal  to  one  quarter. 

[Teacher  writes  an  eighth-note  in  each  part,  and  asks  :] 

T.     Can  you  tell  me  the  name  of  these  notes? 

[Pupils  will  probably  give  the  right  name;   if  not,  tell  them.] 

T,  I  will  name  each  of  these  eight  parts  in  a  way 
which  will  be  easy  for  you  to  tell.  I  will  name  the 
first  part  of  each  quarter  of  the  circles  just  as  we 
did  in  the  first  circle,  and  the  second,  part  of  each 
quarter  we  will  call  "&." 

[Teacher  writes.] 

T.     We  have  four  different  kinds  of  notes.     I  will  place  the  circles 
all  in  a  row,  and  will  place  the  notes  on  a  line  under  them. 


Z  4N 


1234        12        34        1234 

r — r  r  r  I  r — r — I — * — 


1  &  2&  3&4& 


■mmrit 


INTRODUCTION. 


XX  X  V 


h£ 


IS 

~^\2 

/  f 

i    \ 

\  I 

r  / 

4\" 

_-^* 

3  4N 

[Teacher  draws  four  circles,  divides  them  as  above,  and  proceeds  as  follows.] 
T.     Notice  which  parts  I  sing,  and  which  parts  I  rest. 
[Teacher  sings  the  first  and  third  parts.] 

P.  You  sang  at  the  first  and  third  parts,  and 
rested  at  the  second  and  fourth  parts. 

T.  I  will  write  a  quarter-note  in  the  parts  where 
I  sang,  and  a  quarter-rest  where  I  rested. 

[Teacher  writes  in  the  first  circle.] 

T.     Tell  me  which  parts  I  sing  in  the  next  circle. 

[Teacher,  pointing,  sings  the  first  two  quarters  and  rests  the  last  two] 

P.     You  sang  the  first  half,  and  rested  the  other       1 
half. 

T.  Yes;  and  I  will  write  a  half -note  for  the  first 
two  quarters,  and  a  half -rest  for  the  last  two. 

[Teacher  writes  in  the  second  circle.] 

I  will  write  a  whole-rest  in  the  third  circle,  which  shows  you  are  to 
rest  during  the  four  quarters. 

[Teacher  writes  in  the  third  circle.] 

You  will  observe  that  the  half-rest  is  above  the 
line,  and  that  the  whole-rest  is  below  the  line. 


ii\71 


INTRODUCTION. 


P 


-h    „        N    ,      I 


La 


la. 


T.  Tell  me  which  parts  I  sing,  in  the  first  two  quarters  of  the 
fourth  circle,  and  in  which  I  rest. 

[Teacher  sings.] 

P.     You  sang  one  and  tivo,  and  rested  at  the  &'s. 

T.  I  will  write  eighth-notes  where  I  sang,  and  eighth-rests  where  I 
rested.  I  will  commence  again,  and  sing  all  around,  and  you  notice 
how  I  sing  the  third  and  fourth  quarters. 


[Teacher  writes,  and  again  sings.] 


4— f* 
4 


H& 


a— ?v— n- 


La       la       la  la  la. 


P.     You  sang  both  parts  in  the  third  quarter,  and  sang  the  first 
part  of  the  fourth  quarter,  and  rested  on  the  &. 

[Teacher  writes  in  the  remaining  divisions  of  the  fourth  circle.] 

T.     Under  the  four  circles  containing  rests  I  will  place  the  notes 
and  rests,  on  a  line. 


4      1  &  2&  3&4& 


-*-f-Hrr 


twwfl 


THE   STAFF. 

Music  is  written  upon  five  lines  and  the  spaces  between  the  lines. 
The  lines  and  spaces,  called  the  Staff,  are  named  from  the  lowest  up- 
wards, thus: 


Fifth  line. 


Fourth  line.  — 

Third  line.  — 

Second  line.  — 

First  line.  — 


Fourth  space. 
Third  space. 
Second  space. 
First  space. 


Sometimes  the  spaces  below  and  above  the  staff,  and  also  short  added 
lines  are  used,  thus: 


First  added  space  above. 


First  added  line  above. 


First  added  space  below. 


First  added  line  below. 


THE  HEW  SECOND  NATIONAL  MUSIC  READER 


"  The  Old  and  the  New — Ahvays  the  Best" 


THE  NEW  SECOND  - 


NATIONAL  MUSIC  READER. 


PART  I.- READING-  AT  SIGHT  FROM  THE  STAFF. 


MAJOR    SCALE. 

8         c"      Do| 

7        b 

Si 

6         a 

La 

5    ~   *S 

,  Sol 

4         f 

Fa 

3        e 

Mi 

2         d 

Re 

1         c 

Do 

EXERCISES    ON   THE    SOUNDS     OF    THE    SCALE.* 

1,  2-  2, 1- 

1,  2,  3-  3,  2,  1- 

1,  2,  3,  4-  4,  3,  2,  1- 

1,  2,  3,  4,  5-  5,  4,  3,  2, 1- 

1,  2,  3,  4,  5,  6-  6,  5,  4,  3,  2,  1- 

1,  2,  3,  4,  5,  6,  7,  8-  8,  7,  6,  5,  4,  3,  2, 1- 


Down 


Up 


DOUBLE    TIME. 

U.  D, 


rr 


D.  U.  D,  U.  D.  U. 


TaT       Ta         Ta       7a        Ta         Ta        Ta       Ta 

THE    SCALE    UPON    THE    STAFF,   ASCENDING   AND    DESCENDING. 


^pi 


^^ 


Scale-Names.  1  234567887654321 
Pitch-Names,  cdefgabc  c  b  a  g  f  e  do 
Syllables.    Do  Re  Mi  Fa   Sol  La    Si    Do    Do    Si     La  Sol  Fa  Mi    Re  Do 


*  A  comma  after  a  figure  means  a  short  sound ;  a  dash,  a  long  sound. 

t  Those  desiring  to  use  the  Time-Names,  should  carefully  read  the  Appendix,  p.  179.  It  has 
been  expressed  by  many  able  teachers,  that  those  schools  which  for  the  next  five  years  shall  in 
their  exercises  require  beating  time  with  the  hand,  with  the  proper  use  of  the  Time-Names,  will 
excel  in  "Sight-Singing."  The  author  can  testify  to  a  trial  of  them  for  three  years  in  Japan, 
under  the  most  favorable  circumstances  for  testing  their  value,  with  results  in  the  highest  degree 
satisfactory. 


THE   NEW  SECOND 
3. 


m 


pEp&^^»P%^ 


m 


112     2      12       1 
c      c     d     d      c     d      c 


12  112       2     21 

cd  ccdddc 


|Ies 


1 


£ 


3 


g^g=g 


Love  -  ly    May,    love  -  ly    May,  Drives  the  chill  -  ing    winds  a  -  way. 


5. 6. 


7. 


I 


W3^ 


1 


123  123         321 

cde  cde        edc 


9    ■  •      + 

12     3     2 
c   d    e    d 


-m 0 

3     2     1 
edc 


iipp^iPPP 


*-* 


-* — — » — » — • * jg, —   <r 

Be    to    oth  -  ers  kind  and  true,      As  you'd  have  them  be    to   you. 


10. 


ilpiipa 


m 


1=1= 


f 


2 


■^— #-^ 


3      2      2 
e     d     d 


3      1 
e     c 


11. 


I* 


m 


-m^m 


s 


-j 


Bells    do   ring,       bells  do  ring,  In    the  for  -  est  birds  do  sing. 


12. 


13. 


i 


§ 


12    3 
ode 


i 


1  'v  * 

3    4    3     2    12    1 
e   f   e    d    c    d   o 


i 


12    3    4 
o   d    e    f 


NATIONAL   MUSIC   READER. 


14. 

m 


*m 


* 


m 


Sun-shine  bright,  sun-shine  bright,  Comes  to     fill   us    with  de  -light. 


15. 


SOUNDS    LASTING   ONE   MEASURE. 
D.      U.  |  D.         U.      |  D.         U.       |   D. 


*-r^r—r 


n? 


Ta  -  a     Ta     Ta      Ta     Ta       Ta  -  a 


When  a  sound  lasts  during  two  beats  in  double  time,  as  in  the  first  and  last 
measures  in  the  above  exercise,  it  is  named  T'a-a :  the  vowel  sound  is  changed 
with  the  up-beat,  and  the  consonant  is  omitted. 

16. 


i 


m 


t=t 


1=$ 


^^ 


Hark     to    the    bu  -  gle    call ;      Hark  I    how    it   sum-mons    all  I 
17.  18. 


m 


II 


1=F 


=J 


1      3 
c     e 


2     4 
d     f 


3      2 
e     d 


1 
c 


n  19. 

Pi 


f^EEi 


m 


Fair  spring  days,        joy -ous  days!       Give  for  them  to  God  all  praise. 


20. 


t-f 


G  WITH  THE  UP-BEAT. 
D.         |D.    U.    |  D.    U. 


Ta 


r  r  if  r  ir  r  ir 

Ta  Ta   Ta   Ta   Ta   Ta    Ta 


When  exercises  and  songs  commence  with  the  up-beat,  do  not  beat  several 
measures  before  commencing  to  sing  the  notes  or  say  the  time-names  ;  but  begin 
at  once,  with  the  up-beat. 

21. 


I 


^^fe^k^S 


f*f 


+-* 


+^t 


*-^Sr 


The  sun  to  cheer  us  brings  the  day,  And  blesses  with  his    set  -  ting  ray. 


THE   NEW   SECOND 


22. 


23. 


z^JKjjIjjOJ 


* 


I 


12   3    4    5 
e    d   e   f   g 

24. 


12    3   2    3    4    5 
c   d    e   d  e     f   g 


5    4   3   4    3    2    1 
g   f   e    f    e    d  c 


TTun 


± 


Trust  in     God,    trust  in     God,     Who    all  bless-ings  pours  a  -  broad. 


25. 


TRIPLE  OR  THREE -PART  MEASURE. 


IT. 


L. 


U. 


r   r   r  ir  t  r 


L. 


D.      L.       U. 


14      , 
Ta 


Ta       Te        Ta       Ta      TS        Ta       Ta      Te        Ta  -  a  •  !Ta 


BEATING    TRIPLE    TIME. 

Have  the  class  take  position  for  beating  time. 

The  down-beat  is  made  the  same  as  the  down-beat  in  double  time.  The  left- 
beat  is  made  by  bringing  the  hand  smartly  against  the  body,  and  holding  it  there, 
till  the  time  comes  to  make  the  up-beat,  which  is  done  by  bringing  the  hand 
quickly  to  the  position  for  making  the  down-beat  again. 

26. 


s 


^f 


5 


~Z ? *~ 

See      how      the      set  -  ting     sun    fades    in      the        west, 


i 


S: 


m 


See     how    the       set  •  ting     sun    fades    in 
27. 


the 


westl 


? 


PiP 


i=F=3 


Let     us    sing    a    mer  •  ry    lay :    Sing   we    ev  •   er  while  we  may. 


NATIONAL   MUSIC   READER. 


II 


28. 
u. 


r 


COMMENCING    WITH    THE    UP-BEAT. 
U.         Id.      L.      U.        |d.  L. 


ri 


r— hf— f— r 


t 


Te 


Ta       Ta      Te        Tii  -  a      Te       Ta       Ta      Te        Til        Ta 


This  is  an  exercise  in  beating  triple  time,  commencing  with  the  up-beat.  Let 
the  hand  be  placed  firmly  against  the  body  before  commencing ;  then  commence 
promptly,  by  a  sign  from  the  teacher. 


29. 


i 


* 


mm^ 


ra 


Thou  star       of      the    night,  so     high    and      so    hright, 


fe 


m 


s 


I       gaze    on        thy    beau  -  ty     with  heart  -  felt      de      light. 
30.  31. 


\m 


?=$ 


f 


^ 


^ 


1      3 
c     e 


4      2 
f      d 


32. 

13     D- 


Ta     Ta     Te 


ID.  L.         U.  I     D.        L.        U.  ,    D.  L.        U.  II 

-r-t-HT-r-r-hr-i--i~(l 


Ta      Ta      Ts         Ta    Ta      Te 


Ta      Ta     Te 


33. 


*=* 


*=fc 


^ 


-H -J # 

Let      us      join  hands; 


Let       us      join     hands, 


i 


^ 


3^=5 


This    pledge    of      love,  friend  -  ship      ev    •     er        de  -  mands. 


34. 


£-*- h h 1  1    >  1  J — i-h — H H — -Hi 

l^e^bf^^^H-;  ±H^=$=J  b^J 

12      3     1       4     1       5 
c     d      ©     c      f     c       g 


5      4       3      5       2     5       1 
g     f      e      g      d    g      c 


*  The  question-mark  will  always  indicate  a  point  requiring  special  attention. 


THE   NEW   SECOND 


I 


35. 


^f 


Let      ev   •    *ry     creat  -  ure      sing    praise   to      the      Lord, 


^ 


m 


Let      ev   -  'ry      creat  -  ure      sing    praise    to       the      Lord. 


36. 

la 


SOUNDS   LASTING   ONE   MEASURE. 
I     D.    L.     U.  I     D.  L.  U. 


I  I 


rrr 


r~r 


D.     L.  U. 


Ta     Ta        Te       Ta-a-e        Ta       Ta     Te       Ta-a-e 

In  saying  xT'a-a-e,  the  sound  is  started  with  the  down-beat,  and  the  vowel 
sounds  are  changed  with  the  left-  and  up-beats;  the  consonants  being  omitted. 

37. 


P=i 


To        the      wood        come! 


to 


the      wood        come ! 


I 


— * — *" 

There    'mid     the         sing  •  ing       of       birds     let       us 
38.  39. 


roam. 


^i 


3=3^ 


-2- 


w 


i 


^^N=^ 


m 


40. 


*^i 


$=$ 


Pi 


t=t 


m 


Kind,  pro-tect-ing  God    in  heav-  en,  Good-ness  from  thee   ev  -  er    flows. 


a 


Thou  hast  sent  me  sweetest  slumber.  Strengthened  me  with  sweet  re  -  pose. 


/ 


.NATIONAL   MUSIC    READER. 


41= 


I. 


fe 


TWO-PART  ROUND. 
II. 


in; 


HS3 


1 


^ 


# — *- 


42. 


QUADRUPLE  TIME. 


I  a  d.  l.  r.  u.  Id.  l.  r.  u.  Id.  l.  r.  u.  i  d.  l.  r.  u.  II 
^f-rr-m-^-^Hr-^-r-rtr— H 

Ta  Ta  Te  Te   Ta   Ta  Te  Te   Ta  Ta  Te   Te   Ta-a  7e-e 

In  No.  42  we  have  quadruple  or  four-part  measure  for  the  first  time.  It  is 
Setter  to  designate  the  parts  of  measures  by  the  order  of  the  beats  than  by 
counting  the  time  as  in  instrumental  music ;  retaining  the  figures  or  numerals 
only  to  designate  the  degrees  or  sounds  of  the  scale. 

MANNER   OF   BEATING   QUADRUPLE   TIME. 

■ 

1.  Take  position  for  beating  time. 

2.  The  down-and  left-beats  are  performed  as  in  triple  time.  The  right-beat 
is  made  by  bringing  the  right  hand  from  the  body  to  the  fingers  of  the  left  hand. 
The  up-beat  is  made  like  the  up-beat  in  double  time. 

The  advantages  on  the  score  of  discipline  will  abundantly  compensate  for  the 
trouble  of  securing  strict  uniformity  in  beating  time,  apart  from  its  use  in  the 
study  of  music. 

Let  the  teacher  persevere  in  this  matter  till  the  pupils  can  do  it  well. 

THE   TIME-NAMES   IN   QUADRUPLE   TIME. 

The  time-names  in  quadruple  or  four-part  measure  are  :  — 

For  the  Down-beat,  Ta :  a  as  in  far. 

For  the  Left-beat,  Ta  :  a  as  in  fate. 

For  the  Right-beat,  Te :  gas  in  me. 

For  the  Up-beat,  Te  :  e  as  in  met. 
Quadruple  time  is  accented  on  the  down-and  right-beats. 

43. 


S 


T=T 


X=X 


i 


t=t 


-*— 1— jt- 


-$-+ 


^— + 


* — * — 0 

Though  my  cot  be    poor  and  scan  t-y,    'T  is     a    hap-py    home  for  me; 


I 


1        1        1        f 


m 


¥ 


= 0 J 1 , 1 1- 

9 ^       ^       Zf. 

I  shall  dwell  in  peace  and  plen-ty,      If    my  soul  con  -tent  -ed  be. 


10 


THE   NEW  SECOND. 


44. 


F^=f 


t=i=i= 


m 


1 

3 

5 

1 

4 

6 

1 

5 

6 

4 

2     5 

1 

c 

e 

g 

c 

f 

a 

c 

g 

a 

f 

d     g 

c 

45. 

PI 


m 


Birds  that    in    the     for  -  est  throng  Sing    a     joy-  ful,    hap  -py  song: 


i 


i 


& 


Sing  with  glee       all    the     day,      In      the    love  •  ly    month  of    May. 


46. 


mt-r* 


j- 


+—* 


6       78      87       654321 
abccbagfedc 


2      3 
d     e 


i 


47. 


rm^n^i 


M — *     ■     ■ 

1232       345  6787       678 

c       ded       e       fg         abcb       abc 


48. 


^=E* 


4 


gJ~  J  '  J: 


Time   by  mo-ments  steals  a  -  way,       First  the  hour  and  then  the  day ; 


m 


ps 


& 


-&■ 


■& 


Small  the  dai  -  ly    loss    ap-pears,      Yet    it  soon    a-mounts  to  years. 


NATIONAL   MUSIC    READER. 


J! 


EXERCISES  IN   FIGURES,  TO  BE   WRITTEN  IN   NOTES. 

Explanation. — A  comma  after  a  figure,  signifies  a  quarter-note,  thus :  1,= J 

A  dash  after  a  figure,  signifies  a  half-note,  thus :  1-  =  I 

A  comma  after  a  cipher,  stands  for  a  quarter-rest,  thus :  0,=j£ 

A  dash  after  a  cipher,  stands  for  a  half -rest,  thus  :  0-  =  -"- 

The  key  in  which  the  exercise  is  to  be  written  is  denoted  by  a  capital  letter; 
and  the  time,  by  the  usual  signature. 

EXAMPLES. 

C.  »  1,  2,  |  3-   |  3,  4,  |  5  -    |  5,  4,  |  3-    |  3,  2, \  1-  | 

Written  in  notes  upon  the  staff,  appears  thus : 


1 


*— 1— & \—* * 


& •— 0 + 


^ 


n. 


C.  1 1,  2,  |  3,  0,  |  3,  4,  |  5,  0,  J  5, 1,  |  5,  1,  |  5,  5,  |  1,  0,| 

In  notes,  thus : 


t 


^m 


£ 


r— ti-Hti 


-iR- 


m. 


C.  2  1,  3,  |  1,  3,  |  2,  5,  |  5,  0,  |  5,  3,  |  5,  3,  |  2,  3,  |1,  0,| 


IV. 


C   I  1,  2,  |  3,  4,  |  5-   |  6-   |  5,  6,  |  5,  4,  |  3,   2,  |  1-  | 


v. 


C.  S  1,  3,  |  2,  4,  |  3,  5,  |  5-  |  6,  4,  |  2,  5,  |  3,  t,  |  1-  | 


.'I. 


3,  1,|  4,  2,  J  3,  5,  |1-  |  6,  4,  |  2,  4,  |  3,  2,  |  1- | 


VII. 


C.  |  3,  5,  |  4,  6,  |  5,  3,  I  3-  |  4,  2,  |  3,  1,  |  2,  3,  |  1-  | 


i2 


THE  XKW  SECOND 


vni. 
C.  i  1,2,3,4,|  5-3- 

5,  4,  3,  2,|  1-  0-  | 

IX. 
C.  %  1, 1, 1,  |  1,  0,  0, 
2,  3,  2,  |  1,  0,  0,  | 

X. 

C.  I  1,  %  3,  |  1,  0,  0, 

2,  3,  2,  |  1,  0,  0,  | 

XI. 

C.  I  5,  5,  5,  |  5,  0,  0, 

3,  4,  2,  |  1,  0,  0,  | 

xn. 

C.  $  1, 1,  3,  I  5,  0,  0, 

2,  3,  2,  |  1,  0,  0,  | 

xni. 
C:  I  1,  3, 1,  |  5,  0,  0, 

2,  3,  2,  |  1,  0,  0,  | 

XIV. 
C.  \  3, 1,  3,  |  5,  0,  0, 

4,  3,  2,  |  1,  0,  0,  | 

XV. 

C.  I  5,  3, 1,  |  2,  0,  0, 

2,  3,  2,  |  1,  0,  0,  | 


4,  5,  6,  7,|  8-  0-|  8,  7,  6,  5,|  4-  3-- 

2,  2,  2,  |  2,  0,  0,  |  3,  4,  5,  |  5,  4,  3, 

3,  3,  4,  1  5,  0,  0,  |  5,  4,  3,  |  5,  4,  3, 
3,  3,  3,  |  3,  0,  0,  |  4,  3,  2,  |  4,  3,  2, 
1,1,3,|5,0,0,  |  4,  4, 4,  |  3,  3,  3, 
1,  3, 1,  |  5,  0,  0,  |  4,  5,  4,  |  3,  4,  3, 
3, 1,  3,  |  5,  0,  0,  |  3,  2,  1,  |  5,  4,  3, 

5,  3, 1,  I  2,  0,  0, 1  1,  3,  5,  I  5,  3,  1, 


The  pupils  should  sing  the  above  exercises  from  the  figures,  beating  the  time, 
before  writing  them  in  notes.  It  is  recommended  that  only  one  exercise  be 
taken  up  at  one  lesson,  in  the  following  order,  namely : 

1.  Teacher  writes  the  exercise  in  figures  upon  the  blackboard. 

2.  Pupils  sing  it  by  the  (a)  scale  names,  (b)  pitch  names,  and  (c)  sylla' 

3.  Write  the  exercise  in  notes  upon  the  staff.  t 

4.  Pupils  pass  their  slates  to  each  other,  who  examine  and  mark  errors. 
This  should  all  be  done  in  six  or  seyen  minutes,  and  is  as  good  an  intellectual 

exercise  as  arithmetic  or  grammar. 


NATIONAL   MUSIC    READER. 


13 


P 


TRUST  IN   GOD. 


i 


i       i 


!•  Tho'     I      wan  -  der     blind   -  ly,  Till     in    death    I      sleep, 


p 


i    r 


m 


*^$ 


$ 


God    the  Lord  will     kind 

2  He  whose  love  hath  won  me 
Still  to  trust  his  care, 
"Will  not  put  upon  me 
More  than  I  can  bear. 

49. 


ly  Me      in      safe  -  ty      keep. 

3  And  should  care  oppress  me, 
Near  him  will  I  stay, 
So  his  love  shall  bless  me 
Every  coming  day. 

50. 


i 


2E 


7     0 
b      a 


MODEItATE. 


iN 


THE  WATER-LILY. 


^ 


1.  Be  -    side    the      blue    lake  there    was     stroll  -  ing     one       day, 


I 


^ 


^ 


*    '4 

A       wil    •  ful  young   boy,    all       in  -    tent     on      his      play. 

2  And  'mid  the  green  rushes  he  saw  growing  there 
A  beautiful  lily,  so  white  and  so  fair. 

3  "  Oh,  that  I  must  have !  "  cried  he,  eager  with  joy ; 
And  into  the  lake  went  the  heedless  young  boy. 

4  "  Stay,  stay !  n  cried  his  mother,  all  trembling  with  fear, 
"  Oh,  stay  I  for  too  deep  is  the  water  so  clear." 

5  He  heeds  not  her  bidding,  he  stays  not  to  hear ; 

"  No,  no,"  answered  he,  "  there  is  nothing  to  fear." 

6  He  grasped  at  the  flower  —  but  nothing  could  save ; 
He  sank,  and  was  lost  in  a  watery  grave. 

*  Take  breath  at  this  mark  (')  and  at  rests. 


14 


THE   NEW   SECOND 


51  a. 
*       U.     |      D.     L^     R.         U.    |      D.     L.      R.         U.     |     D.     L.     R.     U. 


D.     L.     R. 

r — HI 


i 


r  i  r r—rtr — *  r  i  r    '  r  i  r 

Te      Ta-a-   e       Te      Ta  -  a     Te     Te      Ta-a-e    Te      Ta-a     SRI 
516. 


^ 


I 


i 


1 


^ 


The     Lord 


is 


great,  and  great  -  ly      to      be    praised, 


<y 


^ 


--^- 


^ 


£/ 


And    won    -    drous  are  his      might   -    y 

THREE    EIGHTH-NOTES   IN    A   MEASURE 
L.  U.        (     D.  L.  U.     I      D.  L.  U. 


works. 


I. 

i). 


rr'T 


r-r-rt 


L. 


[f  - 1  p       '       'lb      p      '•IP 

Ta   Ta   Te   Ta  Ta       Te       Ta   Ta   Te   Ta   Ta       Te 


L. 


rt 


r-? 


Ta   Ta   Te    Ta   Ta   Te   Ta   Ta   Te   Ta  Ta       Te 
II. 


i 


* ^ K~ 


±=± 


Jf-Sh 


3=* 


^-^L- 


III. 


^t^=?=rrRF^g 


p 


f  ,,i;  ;  rFpm 


P N h-^— T 


* » 


i  '  « 


IV. 


i^1^-^- 


-*- *-* 


*— ' 2 


^=* 


l£=F^ 

~P 

-rh 

— N 

— k— 

- -  f 

V. 

.  k.- 

*~f 

« 

1^— - 

—j — 

-<- 

-# — 

— "— 

IV-*- 

7  1  ft  J 

— N- 

— # — I 

—J — -2- 

/ 

is 


•fy-3-y- 


-* K- 


N   h K- 


-* \ 


*2± 


"-^ 


NATIONAL   MUSIC    READER. 
THE    DOTTED    QUARTER    IN    THREE-EIGHT    MEASURE. 


15 


52. 

(O         D.  L 

IH~r 


u. 


D.         L.  U.  D.       L.        U.    ,     D.         L.        II. 

~r  nr — H-r — *• 


Ta       Ta       Te        Ta  -    a     Te  Ta  -  a    -  e      Ta  -    a     2» 


53. 

o       D.       L.        U.    |  D.  L.  U.    {  D.  L.  U.  I  D.  L.    U.  I  D.     L.       U.    |  D.L.U.I  D.  L.  U.II 

Tii    Ta    Te    Ta-a  Te    Ta-a  Te    Ta-a  Te    Ta  Ta  Te    Tii-a-e  Ta-a  Te 


54. 


N-i- 


fcti/ 


N-iS-N- 


mi 


N— i-^-*- 


1 


^-# 


04'<»:4 


55. 


£=* 


a 


*-^ 


-h-i- 


gi-^j-h^v-#-n^^ 


LULLABY. 


SOFT   AND   SLOW. 

9 

J      1 

1 

i 

L  '*            l\           IS 

v 

IS 

"  _..] 

f 

T]«        p        ~ 

#             i 

S 

p 

— r 

p> 

J       Is* 

' 

yo       J        j 

a 

»: 

« 

7             #         * 

o 

d 

# 

# 

* 

1.  Gen  -  tly      to    sleep        I       sing    thee,    Sing    thee     to     peace  -  ful 


^m 


i 


slum    j   ber;     Smile,      then,   while   thou      art       sleep     -i  ing. 

» 

2  Smile  once  again,  I  pray  thee,  closing  tliine  eyes,  in  slumber; 

Sweetly  sleep  as  I  guard  thee  ! 

3  If  thou  wilt  smile  upon  me  when  thou  from  sleep  awakest, 

We  will  play  then  together. 

4  Sleep,f or  the  angels  keep  thee,  watching  around  thy  cradle ; 

Sleep,  and  dream  of  the  angels. 


16 


3      e 


Fa 


Mi 


3     d    Re 


1      c    Do 


1. 


THE   NEW   SECOND 
THE   SCALE   EXTENDED   UPWARDS   FOUR   SOUNDS. 


fa  r  r  r  r  p^mm-firT^ 


Do 


1  12  3  4  4  3 
cede  f  f  e 
Do    Do    Re   Mi      Fa    Fa  Mi 


3  3  4  3  2  2  1 
e  e  f  e  d  d  c 
Mi    M4     Fa    Mi      Re    Re  Do 


Sol 


i 


0—P 


#— *- 


S3 


1234  5678  1234  3  21 
cde  f  gabc  cdef   e  d  c 

Observe,  that  the  figures  of   the  scale  extended  upward 
have  a  dot  over  each,  and  that  1=8.     [See  Diagram.] 
Sing  the  notes  of  the  upper  scale  softly  and  distinctly. 


i 


3. 


<zz 


E^EE^ 


^S 


8      7 


1      2 


f 0- 


0 *- 0- 


t=E 


3       2 


7       5       6 


12       3       2       1 


i 


3EE5 


3 


3       8      5        3       8       5       3 


1       2 


1 


NATIONAL   MUSIC    READER. 


IT 


b. 


fa 


£=£ 


i=t 


2       8 


3      8      7 


1 


f^>— 

J 

, r_I J_ 

— b^- 

)ttpt± 

F 1 F F F # m — 

"I ^ J=-J i 1 £=        J            1               1- 

-J      - 

-fr 


*=£r 

1* 

-#            F            f 

f» 

> 

— f a s - *— 

■ 

-p-i- 

Ifcp*-^ 

=t= 

J 1 L_ 

-i — h-=f— T=F= 

A. 

i 


?z 


2       8 


PRAISE    OF    SONG 

(Maybe  pitched  in  B-flat  or  A.) 
I 


3      2       1 


i 


§ 


±t 


1  Song  doth  the  soul     en  •  liv    •     en,  And    fill     the    heart  with    joy; 

2  Then  tune  your  cheer-ful   voic       es,  Like  birds  that    soar     a  •    bove  ; 


% 


=t 


:*_ 


3 


1 


Yes !  God   the    gift    hath    giv    -   en,    Our     sor  -  rows  to      de  -  stroy. 
Let    him  whose  heart  re  -  joic  •    es,    Sing  songs  of    joy    and    love. 


3  The  bond  that  cannot  perish, 

To  friendship's  bond,  we  '11  sing  ; 
The  brother  that  we  cherish, 
The  home  to  which  we  cling. 


4  The  man  who  's  ready  ever 
To  lend  a  helping  arm ; 
The  noble  heart  that  never 
Will  do  his  neighbor  harm 


18 


THE   NEW   SECOND 


TWO    SOUNDS    OF    EQUAL    LENGTH    IN   EACH   PART    OF    TWO-FOUR    MEASURE. 


8. 


u. 


I     D. 


D.        & 


f — LJ—L^—rf 


T'a      fa 


fa 


Ta 


Ta 


Ta     fa        Ta     fa 


T'a  -  a 


When  there  are  two  sounds  of  equal  length  in  each  part  of  the  measure  in 
Double-time,  they  are  named  in  their  order,  respectively,  Ta,  fa,  Ta,  fa,  —  as  in 
the  above  exercise. 

The  pupil  should  be  led  to  observe  :  — 

1.  When  there  are  two  sounds  of  equal  length  in  one  part  of  the  measure,  the 
first  is  sung  with  the  beat,  and  the  second  after  the  beat ;  so,  in  the  first  measure 
in  the  above  exercise, — 

Ta  comes  with  the  down-beat, 

fa  comes  after  the  down-beat, 

Ta  comes  with  the  up-beat,  and 

fa  comes  after  the  up-beat ;  or,— 

2.  By  another  statement :  when  there  are  two  sounds  of  equal  length  in  either 
the  first  or  second  part  of  a  measure  in  Double-time,  the  first  of  the  two  sounds 
comes  with  the  beat,  and  the  second  after  the  beat. 


9. 


lfe3=S 


m^S^^I^ 


.> 


+*-<> 


10. 


g 


fe 


fe 


-2 


■f* — •- 


M rP-T-P- 


II 


i=3=s3 


»-*- 


33 


&- 


11. 

D.  |  D.      U.  &    |  D.      U. 

-0 0—0- 


|  D.      U.      D.     U.  I    D.   &  U.  &  I  D.   &  U.  |    D.      U.  I    D.   U.  1 1 

v-rrrnLrultrrh^nr'ii 


«  r  mr  u 

Td   Ta  fa  Ta   Ta  fa  Ta   Ta    Ta  Ta   Ta  fa  Ta  fa  Ta  fa  Ta    Ta  Ta    Ta  Ta 


12. 


6 


§SEf=£SEi2 


^g^j^^E 


* — * 


£3 


1 


A  -  men,  A  -  men,  A     -     men,  A  -  men,    A  -  men,  A    -     men. 


NATIONAL  MUSIC   HEADER. 
WILMOT. 


19 


*: 


t 


+=T 


s^ 


1.  Heav'n-ly     Fath  -  er,   sov-'reign  Lord,  Be  thy  glorious  name     a   -    dored  ! 

2.  Tho'  un  -  wor-thy,  Lord,  thine  ear,Deign  our  hum-ble    songs    to      hear; 


+— • 


s^ 


m 


Lord,  thy  mer  -  cies    nev  -    er        fail !     Hail,  ce-  les-  tial  Good-ness,  hail ! 
Pur-  er  praise  we    hope    to      bring,  When  a-round  thy  throne  we  sing. 

3  While  on  earth  ordained  to  stay,  4  Then  with  angel  harps  again, 
Guide  our  footsteps  in  thy  way,  We  will  wake  a  nobler  strain ; 

Till  we  come  to  dwell  with  thee,  There,  in  joyful  songs  of  praise, 

Till  we  all  thy  glory  see.  Our  triumphant  voices  raise. 


COMMENCING    AFTER    THE    UP-BEAT  |    OR,    ON   fa. 


13. 

&     I      D. 


U. 


3-rrr- n;- rrr-r 

fa       Ta      fa      Ta      fa      Ta       Ta 


r. 


Ta     fa      Ta    fa        Ta      Ta 


D.         U. 


14. 


^S 


£ 


±i 


^w* 


^%t^^ 


THE   SLY   CAT. 


German. 


I 


*-*- 


v — y — * 

1.  Who  on     our    wall    is      seat    -   ed?         tra,       la,        la!  Take 

2.  O    spar-  row,  there's  a      watch  -  er !  tra,       la,         la !  There 


P=^^=^=*=i 


j   r  r 


-d r •- 


V v- 

care,    or  you'll  be    cheat  -  ed !  tra,  la,   la,    la !    Oh,  spar  -  row  dear,  take 
sits    the  great  mouse-catch-  er  I  tra,  la,    la,    la  1    So,   spar  -  row  dear,  take 


20 


THE    NEW    SECOND 


P 


J 


-K*- 


£ 


care,    take  care!  The  cat       is    near!  tra,     la,     la,     la,     la,     la  I 
care,    take  care!  The  cat       is    near!  tra,    la,     la,    la,     la,     la! 


3  The  cat  is  gone  to  rest  now,  tra,  la,  la ! 

She  knows  the  sparrow's  nest,  now,  tra,  la,  la,  la! 
Oh,  sparrow  dear,  take  care,  take  care ! 
The  cat  is  near !  tra,  la,  la,  la,  la,  la  I 


4  The  cat  has  canght  a  sparrow,  tra,  la,  la  ! 
She  flies  now  like  an  arrow,  tra,  la,  la,  la! 
Oh,  sparrow  dear,  the  kittens  there 

The  feast  will  share !  tra  la,  la,  la,  la,  la  1 


FROM     THREE-EIGHT    TO    SIX-EIGHT   TIME. 

All  six-eight  measures  should  be  considered  as  being  made  up  of  two  three 
eight  measures,  as  in  the  following  example. 
I  a. 


3 


LL/'lLcjr 

ft.Ta   Ta    Te    Ta   Ta    Te 


L.      U.      P.      L.      U.      D.      L.      U.       D.      L.      U.     I>.  L.  IT. 


9-u^rt^T-LLT^LI 


Ta  Ta  Te  Ta   Til    Te 


f~r 


Ta   Ta  Te    Ta-a  Ti 

!  »  f 


C.  D. 


U. 


D.       & 


U.       & 


&        &      U. 


In  the  above  example,  the  beats  and  Time-Names  are  the  same  for  a  and  b. 
The  chief  difference  between  three-eight  and  six-eight  time  is  in  the  accentuation. 
In  three-eight  time  the  accents  are  all  alike.  In  six-eight  time  there  are 
naturally  two  accents,  the  first  being  stronger  than  the  second. 

In  quick  six-eight  measure,  it  is  better  to  mark  the  time  with  two  beats ;  the  first 
half  of  the  measure  by  a  down-  and  the  second  by  an  up-beat,  as  above  (c). 


II  a. 


6.  1 1 


fe?TT^ 


m 


+-*h 


^^ 


1=5*5= 


NATIONAL   MUSIC    READER. 


21 


I. 

|fi   D.      &       & 


SIX-EIGHT    MEASURE. 


U.      & 


D.      &       &      U. 

-p — p — p  — #- 


v  \>  \> 


D.   & 


U.     & 


-P p     P     0 — p-\~p~ 

I      V  V  V  V  IT 


D.    & 


£ 


Ta  Ta  Te  Ta  Ta  Te  Ta  Ta  Te  Ta-a  Te  Ta-a  Te  Ta  Ta  Te  Tii-a-e   Ta-a  Te 
II. 


-f*s — Fv 


^p^j 


jEj£ 


m&-h — * — * — |- 


3=i=* 


in. 


i 


S=i 


:*=*: 


jSjF^gl 


I 


IV. 


w 


3=£=f=r 


^-t 


f=2=i=^ 


£*=5 


i 


^— # 


S3 


SI 


*=S^= 


THE  NIGHT  IS   GONE. 

COMMENCING   WITH    Te,   AFTER   THE    UP-BEAT. 

15. 

In       &    1  D.    &  &      U.      &       &    |  D.   &  &      U.   &  &    I  D.   &  &      U.      A       &    I   D.  &  &  U.  &      II 

Te  Ta-a  Te  Ta  Ta  Te  Ta  a  Te  Ta-a  Te  Ta-a  Te  Ta  Ta  Te  Tii-a-e  Ta-a 


MODERATE. 


i 


(May  be  transposed  to  B-flat  or  A.) 


HOHMANN. 


1 


"> 


1.  The  niglit  is    gone,  the  day     is  here,  And  still  I      live   and  move; 

2.  Lord,  ev  » 'ry    bless-ing  comes  from  thee,Thou  who  canst  all  things  do! 


I 


^ 


m 


Fv-*- 


'v 


E 


The  God  that  governs  all  the  year,  How  con- stant  is       his    love  I 
Oh,  how  mnch  good  dost  thou  to  me   From  day    to     day       re- new  1 


All  that  I  do  to  thee  is  known, 
Who  dost  my  wants  supply ; 

My  rising-up  and  lying-down 
Are  subject  to  thine  eye, 


4  Should  I  in  wisdom's  ways  be  found, 
And  strive  to  do  the  best, 
Love  shall  encircle  me  around, 
And  peace  be  in  my  breast. 


22 


THE   NEW   SECOND 


The  pupils  should  be  led  to  see  that,  in  the  second  measure,  the  dotted 
quarter-note  lasts  till  the  two  beats  are  perfectly  performed ;  and  that  the 
eighth-note  which  follows  should  be  sung  when  the  hand  is  at  rest,  after  the 
up-beat. 

16. 


g; 


H 


17. 


|; 


h 


f— *-* 


#"T 


18.       &•      D.        U. 

12 


COMMENCING    AFTER    THE    UP-BEAT;     OR,    ON   fa. 

D.     U.      &.    D.      &       U.       &        I).       U. 


Trtr-tt7rr-t\£rx2-tr-Jh 

fa    Ta     Ta    fa     Ta  -  a    fa  Ta    fa    Ta    fa    Ta      Ta 


19. 


& 


$=t 


(5 


^— P> f**< 


^ 


I 


1— -i-  -H-7— J hH-^-#-  -F-#-F— -j h-| r7-| 


fc*±^i^t4 


20. 


s 


£ 


spg 


f-7- 


^K 


-^r^r 


jFrom  f7te  i*VencA.-f- 


BRISKLY  WORK. 


2 


^^P 


S 


^ 


1.  Out    of  bed  without    de  -  lay,  Dream  not  in    the  light  of  day  ;  Not  a  task  nor 


$ 


m 


m 


-+*-+ 


ii 


du  -  ty  shirk,But  with  speed  perform  your  work;  Then  en  -  joy  the  time  for  play 


2  Briskly  work ;  be  wide  awake ; 
Care  with  all  your  duties  take  ; 

Not  a  thing  forget  nor  slight ; 

What  you  do,  pray  do  it  right ! 
Busy  fingers  light  work  make. 


3  Briskly  work,  and  little  say ; 
Move  what  e'er  impedes  the  way ; 
Seek  at  once  for  what  you  need; 
All  the  laws  of  order  heed ; 
So  be  happy  all  the  clay. 


NATIONAL   MUSIC    READER.  23 

THE    DOTTED    QUARTER-NOTE   IN  FOUR-FOUR    TIME. 
1. 
^      D.  L.   &     R.   &     U.  &  I  D.     L.       R.     U.    &  I  D.  L.  &     R.    &    U.    &  I  D.  L.  R.  U.  II 

Ta-a  fa  Tefe  Tefe  Ta   Ta   Te   Te  fe   Ta-a  fa  Tefe  Tefe  Ta-a  -e  TS 


-Jv 


4—*- 


m 


m 


p-^^ 


m 


t==t=t= 


fegs^fea 


#— ^ 


U TL- 


23 


fcr^Htj-fh^^s 


m 


i    i    i 


0E3EE£ 


3ti3t 


^ 


HE# 


Et 


g^rHI 


SE^^EE 


«-l  ^* T    I  ^±t 


COMMENCING  WITH  THE  CP-BEAT  ;  OR,  ON  TS. 

'). 

U.  I    D.  L.  &     E.     U.  |    D.  L.  &    R.      U.   *     ;  D.  L.  4      R.     U.  I    D.     L.     R 
-0-+-»- » — •- 


Mr  f  r  u\r  5  r  r  ir — * 


II 


Te    Ta-a  fa  Te  Te    Ta-a  fa  Te   Tefe      Ta-a  fa  Te    Te     Ta-a    TS 


i 


^-# 


s^^s 


fT-fr-r 


24 


THE   NEW   SECOND 
WINTER    SONG. 


S 


fe 


*— * 


1.  Old   Win  -  ter      is        a      spir  -  it       bold,  No     dan  -  ger    can      a  - 

2.  If       e'er       a      man  was  sound, 'tis      he:    He  pines   and  sick  -  ens 


£ 


3 


£e£ 


£-fc± 


1 — r-i 


£ 


larm  him ;  His    bod  -  y      is    of        i  •    ron  mould,Nor  sweet  nor  sour  can 
nev  -  er ;  From  sore  dis  -  eas  -  es       he        is  free ;    He  knows  not  pain  nor 


i 


B 


m 


^ 


m 


harm  . .         him,  Nor  sweet  nor   sour   can    ev  -  er  harm      him. 
fe      -      -      ver,    He  knows  not,  knows  not  pain  nor   fe    -    ver. 


3  He  dons  his  garments  out  of  doors,  And  lets  no  fire  come  near  them; 

At  pains  and  aches  he  laughs  and  roars, — He  hath  no  cause  to  fear  them, 
He  hath  no  cause,  no  cause  to  fear  them. 

4  He  cares  not  for  the  song  of  birds,  Nor  heeds  the  springing  flower;  , 
The  cheering  cup,  warm  hearts  and  words,  To  charm  him  have  no  power, 

To  charm  him,  charm  him  have  no  power. 

5  But  when  the  wolves  are  howling  loud  O'er  frozen  lake  and  river, 
When  round  the  blazing  hearth  we  crowd,  And  rub  our  hands,  and  shiver, 

And  rub,  and  rub  our  hands,  and  shiver,— 

6  When  chilling  storms  are  raging  round,  And  frosty  winds  are  blowing, — 
That  cheers  his  heart;  he  loves  the  sound ;  He  laughs  with  joy  o'erflowing, 

He  laughs  with  joy,  with  joy  o'erflowing. 

7  For  at  the  north  pole  he  resides,  Where  northern  seas  are  swelling, 
On  Switzerland's  high  hills,  besides,  He  has  a  summer  dwelling, 

He  has  a  summer,  summer  dwelling. 

8  So,  to  and  fro,  with  all  his  band,  He's  marching,  marching  ever ; 
And  when  he  passes  by,  we  stand  To  gaze  on  him,  and  shiver, 

To  gaze,  to  gaze  on  him,  and  shiver. 


NATIONAL   MUSIC    READER. 


25 


THE   SCALE    EXTENDED   DOWNWARD. 


(Exercises  from  1  to  G  may  be  pitched  in  D  or  E.) 

1.  2. 


Do 


Si 


La 


Sol 


Fa 


Re 


Do 


87654321 


7  0  5    6    7    8 

c     b     a    g     fedc        cbagabc 
Do  Si    La  Sol    Fa  Mi  Re  Do,       Do  Si  La  Sol  La    Si    Do 

4. 


^IppllPipipip 


Do 


Si 


La 


Sol 


8525321        3142     67 


5. 


4- 


PPt 


#— ^ 


ff^ 


8765123      2432878 


Observe  that  the  figures  of  the  scale  extended  downward  have  the  dots 
beneath,  and  that  8  =1.     [See  Diagram.] 


i 


Though  dark  night    a -round  us    low  •  er,     Let    us    not    be  •  wail, 


i 


i=t=t 


r^ 


But   con  -  fide    in     Heav-en's  pow  -  er — That  shall  nev  -  er    fail. 


(The  following  exercise  to  be  sung  in  exact  pitch.) 


7. 


m 


r-E« 


fe3=**:F*fr 


=_3E 


■#  -^  ^ 


■««• 


26 


THE   NEW   SECOND 


PREPARATORY  EXERCISES. 


TWO-PART    SINGING. 


Divide  the  class  into  two  equal  parts,  each  part  having  an  equal  number  of 
leading  singers.  This  will  be  the  first  step  in  selecting  the  voices  for  two-part 
singing.  Dr.  A.  B.  Marx  pursues  a  similar  course  without  saying  much  about 
it.     The  pupils  should  beat  the  time. 


FIRST 
DIVISION. 


SECOND 
DIVISION 


i 

\^\ 

-& — 

1         . 

-^-r- 

-(Si 

-J- 

P*^-P 

l^ — i 

L# — ^J 

•&- 

£ 

— . 

0    r 

— & — 

— 

....  — 

— 0 — ^~ 

lT2 

FIRST. 

i 

Q 

r 

-i — i— 

±=.\ 

SECOND. 

aL 1_ 

— i — 

— _ — 

— _ — 

— i  -i 

.  BB . 

—       ' 

W=£=± 

— i— 
o 

t=$=& 

4= 

If  there  are  boys  and  girls  in  the  class,  let  the  girls  form  the  first  division 
and  the  boys  the  second.  Then  change  parts,  the  boys  singing  very  softly  on  the 
upper  part. 


2. 

■H 

i 

(i      # 

-  -f 0— 

f2 

rj 

|                     i 

:    1      1 

\ 

-4- 

-# 

#    • 

- — 0 — 

! 

#     « 

-f—^A 

—& 

SJ 

I     - 

4— f- 

-J 1 

-i — i— - 

-\ 

f=^ 

W 

-0 0 *■ 

e) 

NATIONAL   MUSIC    KEADElt. 


27 


FIRST. 


SECOND. 


FIRST. 


SECOND. 


^i 


rr_f 


^ 


cUdtf  MU//  ^a*  dtrn^  rtva  <cbr 


m 


47   -#■   ■♦. 


t=t 


& 


Great  care  should  be  taken  that  the  first  division  sing  very  softly  and  dis- 
tinctly. #  If  any  of  the  pupils  cannot  sing  the  upper  notes  easily,  they  must 
sing  in  the  second  division.  If  some  of  the  pupils  sing  out  of  tune,  they  should 
listen  a  while,  but  care  should  be  taken  not  to  discourage  them. 

In  the  following  exercise,  the  first  division  have  three  sounds  of  the  upper  scale 
and'  the  second  division  have  five  sounds  of  the  lower  scale. 


4- 

8LOWLT. 


FIRST. 


SECOND. 


FIRST. 


SECOND. 


Iff — 

mr- 

■       1 f 

a 

# #- 

*    • 

a 

jp 

fp« — 

4- 
i 

•H- 

H — h- 
— 1 — |- 

:=t== 
--i h 

-H- 

1 

:=*=>' 

-      g> 

— 0 — *- 

"T — F" 

f— f— 

<? — 

"<5 

— 1 1— ■ 

4— r-= 
H — r" 

-J — h- 

1 — 

=t=: 

#=t 

"7^4 

.^ 

— H 

-J — J— 

^_... 

— fil LI 

Exercises  like  the  above,  will  tend  towards  the  acquirement  of  two  important 
arts  in  reading  music  : 

1.  "  Leading  oif  "  and  "  coming  in." 

2.  Learning  to  listen  to  other  parts  while  singing  one's  own. 


28 


THE    NEW    SECOND 


Listening  While  Singing.      € 

Each  singer  must  be  able  to  hear  the  other  part,  and  follow  its  import,  while 
he  sings  his  own. 

It  is  of  no  use  to  tell  a  pupil  to  mind  his  own  business, — "  to  sing  his  part 
without  thinking  of  the  other."  He  cannot  do  it,  because  he  is  not  deaf !  If  he 
could,  it  would  not  be  desirable,  as  one  part  would  be  very  apt  to  "outcry  "  the 
other :  to  sing  out  of  tune  and  out  of  time  with  it.  Besides,  such  a  thing  de- 
prives a  singer  of  the  enjoyment  of  the  harmony ;  and  again,  it  prevents  that 
union  of  feeling  which  is  so  essential  to  the  proper  expression  of  a  piece.  The 
ground-work  of  the  ability  to  hear,  enjoy,  and  execute  "harmonic  song"  lies  in 
the  ability  to  hear  (and  understand),  enjoy,  and  execute  thirds  and  sixths, 
especially  the  former,  in  two-part  song,  which  is  the  simplest  and  first  used. 

Thirds  "  begin  and  complete  "  all  chords.  With  sixths,  which  are  but  inver- 
sions of  thirds,  they  furnish  most  valuable  practice,  of  which  we  can  hardly  have 
too  much.  Dr.  A.  B.  Marx. 


U.  D.        L.      R.       U.    I     D.         L 


U.     I  D.         L.        R.         U.    ,     D.     L.  R 


i  r ir  r  r  r  if  r  *  r  if  r  r  r  \r  ** 

Te     Ta    Ta  Te     Te      Ta     Ta    Te     Te    Ta     Ta    Te     Te      Ta-a  Te 


FIRST. 


SECOND. 


m 


i 


m 


0 UB 0 S ^ L-.0 0 


-*- 0- 


i^E=feEfe 


-: 


FIRST. 


SECOND. 


i 


#=* 


F F #- 


^i=r- 


:iE3 


p^« — #— •- 


i=f 


i=t-T^ 


-* «     »  #       <+ 


F=*=:/ 


-o 


FIRST. 


7. 


p^i 


4=± 


«=f 


-i — tt- 


1= 


NATIONAL   MUSIC    READER. 


31 


THIRDS. 


■4-—-- 


-^T— ^ 


^ 


2 


r 


3EE£eI 


^ ^ 


5*3 


Hark  !  the  bells ;     Hark !  the  bells ;      Hear  the    sol-emn    ves  -  jDer  bells  1 


10. 


mm 


4=t 


1 


fTf±rfTf±rrf=^Tf 


u. 


n^rrrrf=^=f=f=^=rf 


12. 


i 


i^^i 


§2E 


*=* 


^rf=f=fTT=?=rf=f^ 


13. 


i 


a 


* * ^ 


hi- 


f-^T 


rf 


r 


14. 


SIXTHS,    FIP^THS,    AND    THIRDS. 

mf 


^EEE£3E£ 


J— J-U 


^— £ 


'    t   r  t 


> 


"I — "t 


^±p 


The        ech    -  o  fills  the     woods     a    •    round,  it 

III.     PP>\  I         1    -     1.        I 


-# «- 

i h- 


^ 


^ 


-# W- 


22 


f==f=*f 


II 


r 


fills  the  woods      a  -  round,        it  fills     the  woods  a    -  round 


32 


THE   NEW  SECOND 


Suggestions  to  Teachers. 

« 

Let  the  two  exercises  below  (15  a  and  15  b)  be  studied  in  the  following  order : 
As  to  Time. — First,  Beat  the  time,  naming  the  beats,  commencing  Up,  Down, 
Left,  Eight,  etc.      Second,  Beat  the  time,  saying  the  Time-names  instead  of 
naming  the  beats.     Be  careful  to  whisper  the  rests.* 

As  to  Pitch. — First,  Say  the  scale-names  without  beating  the  time ;  Second, 
Say  the  pitch-names,  without  beating  the  time  ;  Third,  Sing  the  syllables,  beat- 
ing the  time ;  Fourth,  Never  stop  a  class  after  they  have  commenced  to  sing  an 
exercise  or  tune,  so  long  as  any  one  in  the  class  is  singing  right,  though  all  the  rest 
fail.  Make  corrections  and  give  further  explanations  after  the  courageous 
pupil  has  carried  the  exercise  through. 

15  a. 


^-K^                 1      0 0 * 0 •— ■& 0 0 ' 1 ' 

j^-t^rrH^ 


^ 


^m 


15  b. 


p^^^a^E 


# — 0 — P- 


±=t 


-&~ 


t=t=$ 


m 


If  any  of  the  pupils,  especially  the  boys,  find  it  difficult  to  reach  the  high 
notes,  they  may  cease  to  sing  them.  It  will  be  much  to  their  credit  if  they  can 
stop  singing  when  the  sounds  are  too  high,  and  come  in  when  the  notes  fall 
within  the  pitch  of  their  voices. 

The  following  song  has  both  the  above  exercises  on  one  staff,  with  words. 


*  A  great  deal  has  been  said  as  to  the  doubtful  utility  of  beating  time  with 
the  hand.  A  careless  manner  of  beating  time  is  as  bad  as  a  clock  out  of  order, 
or  so  imperfectly  constructed  that  it  "  does  not  keep  good  time,"  and  is  worse 
than  useless.  Beating  time  should  be  according  to  a  method,  strictly  adhered 
to :  the  motions  should  be  uniform,  that  is,  all  the  class  should  be  trained  to 
make  the  movements  of  the  hands  alike,  and  with  the  utmost  precision. 


NATIONAL   MUSIC   READER. 


33 


THE  RISING  SUN, 


JEErizJznfeEJ 


±e£ 


i=t 


1     r    i    i    [ 

1.  Ar  -rayed  in    gor-geous  splen  -  dor,   The  beauteous,  gold- en     sur 

2,  We    bid  thee  heart  -  y    wel  -  come,  Bright  im- age     of    our     God! 


I        I 


J-^J — J- 


iiE^ 


1 


£ 


m^h=t 


r 


Be  -  gins  with  dawning     glo    -    ry   His     dai  -  ly  course  to      run. 
Whose  rays  sublime  and    glo  -  rious  Are    pour-ing  all     a  -  broad. 

3  How  freshly  doth  all  nature  4  How  good  is  our  Creator, 

To  life  and  beauty  spring !  Who  made  this  shining  light  I 

See  how  the  glist'ning  dew-drop  Come,  brothers,  to  his  praises 

To  each  green  leaf  doth  cling  ?  Let  us  in  song  unite  ! 


16  a. 


i 


m 


-* — — — i- 


i 


I     I  I    J— tEfl 


f-M-^N-^ 


16  6. 


^ 


i_ — # — __3=[Z5: 


m 


r-r-r-n 


*— »- 


I 


s 


H 


34 


THE   NEW   SECOND 


AWAKING  SONG. 

[May  be  transposed  to  Key  of  B-flat.] 


Scholinus. 


SEE! 


^=^=^=^^ 


f=f=r-T~Tj- 


F 


§ 


1.  Re-fresh'd  by    gen  -  tie     slumbers,  From  care  and   sor-row   free, 


4 


m 


r-f-f-r 


r 


Our  hearts  in     tune  -  f  ul     num-bers     Sing  praise,  O  Lord,    to     Thee. 

2  Thou  spreadest  joy  and  blessing,         3  Oh,  may  we,  ceasing  never, 
Thou  Source  of  ev'ry  good ;  Extol  Thee  all  our  days  ; 

Then  hear  us,  Thee  addressing  Our  hearts  and  life  be  ever 
In  songs  of  gratitude.  An  endless  song  of  praise. 


EXERCISES    FOR   TWO    DIVISIONS    ON    ONE    STAFF. 


17. 


fefcj 


i^i 


T<     J 


« — * 


-&-     -m- 


r  r  r  f  r 


18. 


£p^ 


^Efci 


3J— — #- 


r   r  f  >  r  r  r  r 


r 


19  a. 


^3E^3E^^ 


^^3 


4      j-i-3 


I 


19  6. 


£g 


^ 


s= #- 


g^ppl 


NATIONAL   MUSIC    READER. 


35 


MORNING  AWAKETH. 

(May  be  transposed  to  B-flat.) 


Dr.  Marx. 


W? 


Dark  -  ness       is        gone, 
Fill      the      pure        air; 


i      r 

1.  Morn  -  ing       a    -    wak  -    eth, 

2.  Birds    with  their       mu    -    sic 


i 


M 


f 


' 


I 


In        the    bright    heav    -    ens       shin    •   eth        the        sun. 
Flow  -  ers      their      fra    -    grance  Breathe  ev    -     'ry    -  where. 


3  Brightly  the  dew-drops 
Shine  on  the  grass ; 
Bees  through  the  meadows 
Hum  as  they  pass. 


4  All  is  so  joyful, 
*  All  is  so  blest, 
Calmness  and  pleasure 
Fill  ev'ry  breast. 


20  a. 


&m 


m 


y=c 


»  ♦ 


m 


^ 


20  6. 


ms=i 


k 


±=± 


^jy-rj 


t^i 


36 


THE    KEW   SECOKD 


i 


SPRING   MORNING. 


mmm 


m 


fHrrr^H — r^-rf'rj 


1.  See 

2.  The  fields  in  robes  of 


how  the  fields  are  waking, 


flowers, 


As        if  from  balm-y      sleep ! 
Smile   back  up  -  on  the    skies ; 


i 


R=^ 


rt=n 


o 


r r  f  rr  r  ; 

See  !     hill  and  dale  are     tak-ing 
From   all  their  blooming  bowers, 


A  green  more  bright  and  deep. 
Sweet  clouds  of  in-cense    rise. 


3  The  birds,  in  Spring  rejoicing, 

Soar  high  in  ether  clear, 
And  warble  many  an  anthem 
Ne'er  meant  for  mortal  ear. 

4  And  many  a  desert  blossom, 

Which  eye  will  never  see, 


Sends  from  its  hidden  bosom 
An  oft'ring,  Lord,  to  thee. 

5  All  good  from  thee  o'erflowing 
On  each  created  thing, 
Life,  light,  and  joy  bestowing, 
Returns  to  thee,  its  Spring. 


Pursue  the  same  method  in  teaching  two-part  songs,  viz., —  First,  Let  all  the 
class  sing  the  second  or  lower  part,  and  then  the  first,  or  upper  part,  as  though 
there  were  no  words ;  Second,  When  they  know  both  parts,  apply  the  words. 


SUNDAY  SONG. 


21. 


Te  Ta  Ta  fa  Te  Te  Ta-a  Te  Te  Ta  Ta  fa  Te  Te  Ta-a  Te 


mf 


T 


H.  G.  Nageli. 


Wfwfmm 


^m 


1.  To  -  day    a        sol-emn  still  -  ness  Is    rest  -  ing     far  and  near ; 

2.  The  Sab  -  bath  bells  are  ring  -  ing,   So  cheer-ful    and    so    clear, 


NATIONAL   MUSIC   HEADER. 


3? 


i 


£5 


\=±=}-&+-}=u 


m 


% 


V 


rTT^rr 


r 


And    so     may    we,with  glad  -  ness,  God's  ho  -  ly     day    re  -  vere. 
The  call     to     pray'r  and  sing  -  ing,    And  God's  good  word  to   hear. 


3  Who  would  not  heed  the  message 

God  sends  us  from  above  ? 
Who  would  not  seek  his  blessing, 
His  mercy,  and  his  love  ? 

4  And  as  the  Eastern  sages 

Were  guided  by  a  star, 


So  faith  will  lead  us  heav'nward, 
Where  God  and  angels  are. 

5  Once  with  our  heav'nly  Father, 
No  griefs  to  us  can  come  ; 
We'll  dwell  in  peaceful  pleasures 
In  that  eternal  home. 


OUR  FATHER. 


H.  G.  Nagei.i. 


4-  -r^i — J z H — >^=F^ — —n — F 


1.  He        who    gave     the      star    -    light, 


Glit  -  ter-ing      soft 


I 


^ 


0 


r^rr 


And 


the    bless  -  ed 


light, 


sun     -     light, —  He 


^ 


5 


r-r—f 


rT 


help 


t 


eth     and    watch  -  eth    both      thee 


and 


2  He  who  guides  the  river, 
Gliding  onward  ever, 
Never  asking  whither, — 
He  watcheth  and  guideth  both  thee  and  me. 


3  He  who  made  the  flowers, 
Hills  and  woods  and  bowers, 
Tempests,  clouds  and  showers, — 
He  helpeth  and  watcheth  both  thee  and  me. 


PART  II-  THE  CHROMATIC  SCALE. 


8 

C 

7 

Sexnit. 

b 

6 

Tone. 

a 

5 

Ton*. 

£ 

4 

Tone. 

f 

3 
2 
1 

Semlt. 

e 

Tone. 

dl 

Tone. 

e 

LEARNING   MORE   ABOUT   THE   SCALE. 

1.  There  are  eight  sounds  in  the  scale. 

2.  They  are  named  One,  Two,  Three,  Four,  Five,  Six, 
Seven,  Eight,  represented  by  the  figures  1,  2,  3,  4, 5,  6,  7,  8. 

3.  These  eight  sounds  differ  in  pitch. 

4.  By  pitch  is  meant  the  rising  and  falling  of  the 
voice,  as  in  singing,  step  by  step,  up  or  down  the  scale. 

5.  The  difference  of  pitch  between  two  sounds  of  the 
scale,  as  between  One  and  Two,  Two  and  Three,  Three 
and  Four,  etc.,  is  called  an  Interval. 

G.  There  are  two  kinds  of  intervals  in  the  scale,  larga 
and  small. 

7.  The  large  intervals  are  called  Tones, 

8.  The  small  intervals  are  called  Semitones. 

9.  The  scale  is  used  to  measure  the  difference  of  pitch 
between  sounds,  as  a  yard-stick  is  used  to  measure  cloth  and  the  like. 

All  the  exercises  and  songs  thus  far  have  been  in  the  key  of  C*  By 
that  is  meant  that  the  pitch  of  One  lias  always  been  c.  We  are  now 
to  study  exercises  and  songs  in  other  keys. 

When  the  scale  is  based  on  any  other  pitch  than  that  of  c,  it  requires 
the  introduction  of  one  or  more  sounds  not  found  in  the  *  'natural"  scale. 
These  extra  sounds  are  found  in  what  is  called  the  Chromatic  Scale, 

*  I  do  not  sympathize  with  those  who  entertain  so  much  anxiety  about  becom- 
ing too  familiar  with  the  key  of  C.  There  are  other  difficulties  than  those  of  tune 
to  be  encountered  and  overcome.  After  the  pupils  have  mastered  the  scale  so 
as  to  read  readily  in  the  key  of  C,  let  them  in  that  key  wrestle  with  some  of  the 
hard  things  in  time. 

The  "  ox  "  and  the  "  ass  "  may  become  so  much  accustomed  to  persons  and 
places  as*  to  be  unhappy  In  consequence  of  any  change ;  but  I  find  no  difficulty 
with  children  nine  years  of  age,  in  changing  the  places  as  to  the  pitch  of  the 
scale.  After  they  have  become  familiar  with  one  place,  they  are  quite  curious 
to  know  others.  All  the  difficulties  that  have  been  overcome  in  one  key,  as  to 
tune  and  time,  are  under  our  feet  forever  in  all  the  others. 

That  good  old  rule, "  Learn  to  do  some  one  thing  well,  and  every  thing  else  by 
that,"  is  especially  to  be  applied  in  the  art  of  reading  music  from  the  staff,  in 
the  various  keys. 


NATIONAL   MUSIC    HEADER. 


39 


which  is  made  up  of  First,  the  eight  sounds  of  the  natural  scale, 
which  you  have  already  learned,  and  Second,  others,  coming  between 
such  sounds  of  the  natural  scale  as  form  intervals  of  a  tone. 


Do 


Si 


#6  ajor  ais  Li 


La 


flBgftorgisS 


g       Sol 


£4f|_orfis  Fi 


Fa 


Mi 


JJ2  dftor  ais  Ri 


d      Re 


;jl  cftorcis  Di 


Do 


THE    CHROMATIC    SCALE   ASCENDING. 

You  see  by  the  diagram  that  there  are  five  new 
sounds  —  just  as  many  as  there  are  large  intervals 
or  tones  in  the  scale.  You  will  observe  that  the  new 
sounds  have  this  sign  ( # )  called  a  Sharp,  before 
each  of  them.  It  always  indicates  a  sound  one 
semitone  higher  than  that  named  by  the  letter 
alone. 

According  to  the  diagram,  the  scale-names  of  the 
chromatic  scale,  commencing  with  c,  are  :  One, 
Sharp-One,  Two,  Sharp-Two,  Three,  Four,  Sharp- 
Four,  Five,  Sharp-Five,  Six,  Sharp-Six,  Seven, 
Eight.  When  we  say  the  pitch-names,  the  letters 
are  called  first,  as  c-sharp,  d-sharp, /-sharp,  #-sharp, 
and  a-sharp. 

The  best  way  to  hear  how  the  chromatic  scale 
sounds  is  to  strike  c,  upon  the  puino,  and  then 
every  key,  white  and  black,  up  to  c~.  A  good  cab- 
inet organ  will  do  as  well,  if  not  better. 

The  chromatic  scale  ascending  appears  on  the 
staff  thus  : — 


rf 


■¥- 


jCTfr^-gfl 


Scale-Names.    1   #1    8    Jf2  3  4   #4    5   #5    6   #6      7  8 

Pitch-Names,   c    c$    d  djf  e  f   x$    g  gft  a   aft    t  c 

Syllables.  Do  Di  Re  Ri  Mi  Fa  Fi  Sol  Si  La  Li     Si  Do 

German  Pitch-Names.*  c  cis    d  dis  e  f    fis    g  gis    a  ais  J  b  o 

The  chromatic  scale  is  not  to  be  sung  as  above,  but  as  follows  : — 

*  The  German  chromatic  pitch-names  are  more  convenient  to  sing  than  the 
English,  because  they  can  be  said  with  one  syllable.  Dr.  A.  B.  Marx,  a  great 
German  writer  on  the  teaching  of  singing,  says  that  the  difference  of  pitch  is 
very  much  clearer  in  the  mind  when  we  say  c,  cis,  than  when  we  say  c,  c-sharpj 
and  so  of  the  other  chromatic  sounds. 

f  Pronounced  with  g  hard  as  in  give,    t  Pronounced  ice. 


40 


THE   NEW   SECOND 


i 


2. 


3=^ 


W 


•& 


-R 


:<2 


>r  Dicta- )  Q 
tion.      \  O 

7 

8 

2 

#1 

2 

3 

P 

3 

4 

To  be  (Do 
Sung.  \    e 

Si 

Do 

Re 

Di 

Re 

Mi 

Ri 

Mi 

Fa 

b 

c 

d 

cis 

d 

e 

dis 

e 

f 

i 


i 


m 


-■■ 


'-> 


* 


¥ 

5 

6 

«B 

6 

7 

#6 

7 

8 

Fi 

Sol 

La 

Si 

La 

Si 

Li 

Si 

Do 

fis 

g 

a 

gis 

a 

b 

ais 

b 

c 

5 
Sol 
g 

Although  any  of  the  above  chromatic  sounds  may  appear  in  easy 
music,  sharp-four  is  most  frequently  used,  as  in  the  following  exercise. 

a  SHARP-FOUR. 


I 


^ 


I    A     J 


s 


4 


¥ 


MORNING  SONG. 


±=R 


HI 


i=*J     J-t 


;=* 


i    i    i    i 

1.  Morning's  golden  light    is 


breaking ;  Tints  of  beauty  paint  the     skies ; 


ife^EJ 


SsgE^fafc 


i 


?#F 


t^^^d 


r  *  rr 

Morning's  feather'd  choir  are  wak-ing,  Bid-  ding  me    from  sleep  a  -  rise. 

2  Well,  I'm  ready ;  quiet  resting  4  When  I  leave  the  downy  pillow, 

Has  restored  my  weary  pow'rs ;  Which  so  oft  has  borne  my  head, 

I  '11  again,  all  sloth  resisting,  Sure  it 's  right  a  time  to  hallow 

Labor  thro'  the  day's  bright  hours.  To  the  Hand  that  kept  my  bed. 


3  But  with  thanks  let  me  remember 
Him  who  gave  me  quiet  sleep ; 
Let  me  all  his  mercies  number, 
And  his  precepts  gladly  keep. 


5  Let  me  never  prove  ungrateful, 
Let  me  never  thankless  be ; 
From  a  sin  so  base  and  hateful 
May  I  be  for  ever  free ! 


JSTATIONAL   MUSIC    READER, 


41 


THE   CHROMATIC   SCALE   DESCENDING. 

When  we  name  a  chromatic  from  the  upper  of  the  two  sounds  be- 
tween which  it  occurs,  we  use  the  word  fiat,  meaning  a  semitone  lower 
than  the  natural  sound  from  which  it  is  named ;  so  the  sign  which 
means  a  semitone  lower  is  called  a  flat,  and  is  made  thus  :  v. 


8 c      Do 

7 b Si 

i27bJ2orbesSe 


6 


a       La 


J26aJ2oraes  Le 
5        g      Sol 

J25  gtzorgesSe 
4        f       Fa 


3       e     Mi 


J23  efe  or  es  Me 


d      Re 


^2dfeordesRa 
1        c      Do 


The  chromatic  scale  descending,  in  which  the 
intermediate  or  chromatic  sounds  are  represented 
by  flats,  appears  upon  the  staff  thus  : 


-g— fcg- 


<z> 


SL 


~^&—sr]y&- 


7  Vt  6  i?6  5  /o  4  3  >3  2  (?2  1 
c  b  b>  a  aJ7  g  g>  f  e  e\?  d  dj?  c 
Do  Si     Se  La    Le   Sol  Se     Fa  Mi  Me  Re  Ra  Do 

f   e    es   d    des  c 


c     b    bes    a    aes*  g 


2. 


HOHMANN. 


i 


^ 


w 


i 


For  JiH 


Dictation.^    Y*    1       2    |?3     2      3     4    3      4    J>5     4 
To  be  j  Do  Ra  Do    Re  Me  Re    Mi  Fa  Mi    Fa  Se    Fa 
Sung'l  c  des    c      d   es     d      e     f    e      f  gest  f 


$=& 


td 


*=t 


£ 


H* — 


5     |?G     5       6    t>7      6       787        8 
Sol  Le   Sol      La  Se      La      Si    Do    Si      Do 
g    aes    g       a   bes     a      b     c     b       c 

"We  have  spoken  of  the  first  regular  sounds  of  the  scale  being  called 
natural,  and  of  the  intermediate  sounds,  chromatic.  Besides  the 
characters  which  are  called  sharp  and  flat  (  ft  and  y ) ,  we  have  a  charac- 
ter called  a  natural,  (made  thus,  fc| ),  which  is  used  to  take  away  the 
effect  of  either  the  sharp  or  the  flat.  ^ 

Among  the  flat  sounds  that  occur  in  singing,  as  chromatics,  flat- 
seven  will  be  met  with  most  frequently. 


*  Pronounced  ace.         f  Pronounced  with  g  hard,  as  in  get. 


42 


THE   NEW    SECOND 


3. 


is 


FLAT-SEVEN. 


m 


*=3 


ACCIDENTALS. 

When  sharps  and  flats  appear  in  exercises  and  songs, —  as  in  the  sec- 
ond measure  of  Exercise  3  and  the  fourth  measure  of  "Morning" 
Song,"  page  46,  and  in  the  exercise  with  flat-seven, —  they  are  called 
Accidentals. 

"  Songs  are  more  numerous  with  accidental  sharps  and  flats  than 
without  them ;  the  singer  must  therefore  make  himself  acquainted 
with  the  use  of  these  characters." 

The  pupils  need  not  be  afraid  of  these  accidental  notes  ;  they  will 
be  just  as  easy  to  sing  as  the  scale  itself.  The  flat-seven  will  require 
a  little  more  thinking  at  first  than  sharp-four,  as  in  the  following 
song. 

BEGINNING  OF  SPRING. 


I 


2 


^ 


^ 


1 * • 

1.  The  Spring  a  -  gain     ap    -    pear 


P 


i 


eth,     The  Spring  our  hearts  that 
mf 


m 


■i 


I 


cheer     -      eth  1  The  birds  pro  -  claim   it 

/ 


on     the    tree,  The 


S3 


v- 


scent-ed  flow-ers   tell  it  thee!  The  Spring  again  ap  -  pear 


eth! 


2  Ye  see  it  in  the  meadows, 
And  'mid  the  forest's  shadows ; 
The  cuckoo  calls,  the  linnet  sings, 
And  with  delight  all  nature  rings, 
For  Spring  again  appeareth  ! 


3  Here  buds  their  heads  are  raising, 

Here  peaceful  flocks  are  grazing ; 

Ah  !  see  how  ev'ry  heart  is  glad, 

How  Earth  is  in  her  beauty  clad, 

For  Spring  again  appeareth  ! 


NATIONAL   MUSIC    READER. 


43 


EXERCISES   IN"   CHROMATIC   SOUNDS. 

First  Step. — The  pupils  should  be  able  to  sing  at  sight  the  follow- 
ing exercise,  without  hesitation  or  making  a  mistake. 

1. 


PS 


^m 


t=t 


f=t 


Secokd  Step.  —  The  second  and  third  measures  in  the  following 
exercise  will  be  found  to  be  just  as  easy  to  sing  as  the  first  and  fourth 
measures.     The  pupils  should  beat  the  time. 


i^^^^^SJ 


S 


0 — *- 


I 


jy= 


Thibd  Step. — The  same  exercise  with  the  second   part  of  each 
measure  left  out.     The  pupils  should  think  of  the  sounds  left  out. 

3.  ?*  ?  ?  P 


l=F* 


;^Ps 


P 


* 


¥=* 


P 


1 


■#    ■* 


Fourth  Step. —  In  Exercise  No.  4,  the  teacher  is  to  decide  how 
much  to  assist  the  pupils. 

4. 


EEE5 


*= 


!=* 


^-|i— *-t*^-* 


m^ 


1 


#t 


■i=^- 


,1 


* 


;* 


The  teacher  will  explain  the  use  of  the  natural  (jj)  in  the  last  section. 

Fifth  Step. —  If  the  previous  exercise  is  well  mastered,  the  follow 
ing  will  be  easy  to  sing. 


*  The  question-mark  indicates  that  there  is  something  special  to  think  about. 


44 


THE   NEW  SECOND 

?  ? 


4 


3F=Tn? 


4= 


£= 


* 


*= 


*-f*- — K-^ 


i 


3=^1 


^^ 


* 


1=*: 


The  following  is  a  similiar  exercise  in  three-four  time. 


I 


m 


pi=gE^^^j=Jsa±=^^ 


I 


J— I— \ -N- 


-*- # 


*t 


S 


-* k- 


m 


a — i — »-*- 


"»       -^ 


•£*: 


7. 


5 


*=t 


9 


4   J  .|J     J    j  H   K^^^B 


Like    a      riv  -  er    shin-ing      ev  -  er     Is    the  heart  of     In  -  no-cence, 


:4=4— 4--+ 


^ 


ft F_'_# , (SL 


i f w—r-m # f 

£z=4E=t=tf=[:z=:t 


Find  -  ing  pleas-ure  with  -  out  meas-ure,  In    the  work  of  Prov  -  i  -  deuce. 


The  time  in  the  following  exercise  should  be  thoroughly  mastered. 


U.         D.   L. 


t~T 


U.       &   I    D.      &        L.        U.    '     D.   L.     &       TJ.       &   I    D, 


-0 0 §>- 


-LTT-rtr-rrr 


V  V  V 

Te       Ta-a    fa     Te    fe     Ta    fa    Ta     Te      Ta-a     fa  Te     fe     Ta      Ta 

U.    I     D.    L.      &       U.       &    I     D.      &        L.       &       U.        &    I    D.    L.      U.      &     I    D.        L.     I 

f  If  g ■  g  g I g  g  g  g  g  c  1  r ■'  s  sir  hi 

To      Tii-a    fa    Tu    fe     Ta    fa    Ta    fa     To    fe     Ta-a.   Te    fe     Tii     Ta 

FLAT-SEVEN'   AND   SHARP-ONE. 
9. 


4* 


* 


>    Si 


* 


£=£ 


4 


t 


NATIONAL  MUSIC   READER. 


47 


The  scales,  as  they  have  been  sung  from  dictation,  appear  on  the 
staff,  with  the  signature,  as  follows: — 


I 


rs    .  fS 


<& — &~ 


! 


O 


1       2      3      4       56       78       87654321 
g       abc       d       efisg        gfisedcbag 


-* 7Sr 


&—^ 


♦■^s:-— 5:-bt*- 


8       7       65432       11      2,     345678 
gfis       edc       b       a       g       gabcdefisg 


4. 


i=£ 


#      j 


4    -#- 


1234565         6543221 


Pi^^i 


rrXX^ij  j^ 


s    ■  « 


765443         3345       67 


6.* 


S 


4— -#- — ^^ 


m 


-4 — # 


^J 


3=r 


# *- 


■#        "^  T5** 


7.* 


ford   J   J— 4-h    i    tn 


*=g 


^ — *- 


gj-j  j  jij  ^ 


n 


Nos.  6  and  7  may  be  sung  together. 


48 


THE   NEW  SECOND 


8. 


fa^ 


I 


tfeta^ 


^^s 


#— 0- 


+ 


**£ 


\^^^m^^f^f^^m 


THE  LAMBKIN. 


mmm 


rr- 


T~r 


1.  In    the    grass -y       plac    -    es,    Where  the  flow'rs  are    seen, 

2.  On    the      sun  -  ny     past    -    ure,     Mer  -  ri  -    ly      she  springs; 


J 


mm 


£ 


-J i=d- 


a 


^_s_ 


75" 
i 


There  the   lamb- kin     graz    -    es,         On    the     ten  -  der    green. 
Feels,  like     us,    the    pleas   •    ure        Sun -ny  Springtime  brings. 


3  Where  the  birds  are  blinking, 
To  the  brook  she  goes ; 
When  she 's  done  her  drinking, 
Then  she  seeks  repose. 


4  Softly  there  she  rests  her, 
By  the  running  stream ; 
We  will  not  molest  her, — 
Sweetly  let  her  dream. 


10. 


m^t 


-N — N- 


^-=tos=5: 


'2 


■4r+- 


-N — fv 


?=S 


»     *      4 


^ 


-* — r 


fc*^ 


N — N- 


- — • — *— * — 0 — « 


-N — N- 


m 


-3=± 


* — #- 


NATIONAL   MUSIC   READER. 


49 


t 


■fr 


M: 


£=t_£i 


v—p- 


^m 


& 


3=2 


3=£ 


A,  A,  A. 


«-4- «=y y- 


1.  A, 

2.  E, 


1     '        *   *   '   I  C  7" 

a,       a!      Now  comes  the  mer-ry  May ;        Gone  is      all    the 


e! 


A    hap  -  py  band  are  we, 


Af  -  ter     A  -  pril's 


ft* 


i 


t 


s 


win  -  try  weath  -  er ;    Spring  and  bios  -  soms,  come    to  -  geth  -  er. 
gen  -  tie    show  -  ers,  Comes  sweet  May,  with    fra  -  grant  flow  •  ers. 


=*- 


^ 


e, 


a!  Now    comes    the      mer  -    ry      May. 

el  A        hap  -   py      band    are      we. 

3  T,  i,  i  I     To  snow  we  've  said  good-by ; 

From  the  school-room  hopping,  skipping, 
Down  the  stair- way  dancing,  tripping, 
I,  i,  i  I    To  snow  we  bid  good-by. 

4  O,  o,  o !     Now  merrily  we  go ; 

Violets  in  the  fields  are  springing, 
Birds  so  sweetly  now  are  singing, 
O,  o,  o  1     Now  merrily  we  go. 

5  U,  u,  u !     I  know  what  we  will  do : 

O'er  the  meadows  lightly  straying, 
By  the  brooklet  gaily  playing, 

U,  u,  n  I     I  know  what  we  will  do. 


50 


THE   NEW  SECOND 


12 

2      & 


COMMENCING   AFTER   UP-BEAT,    OR   ON   fa. 
D.        &         U.        &      I     D.        U.     &      i     D.        &         U.         &      |     D.         & 


U. 


fa     Tii    fa      Ta     fa       Tft    Ta  fa       Ta     fa     Ta     fa      Ta     fa 


Ta 


i). 


u. 


D.        &         U.         &     i    D.        &         U.        & 


D.         U. 


rrrTrTT-nrTT-rrr^ 

Ta    fa     Ta      Ta     fa     Ta    fa      Ta    fa     Ta    fa      Ta     Ta 


13. 


I 


N-, — N v 


7=^=-^^=^ 


3= 


^ rv fs. 


*^ 


14. 


-* N- 


i^  '  nrT^trc  m^-1^ 


-N K- 


I 


^=-# 


■v — y — t^ 


THE  BEAUTIFUL  WORLD. 


I 


MODERATELY   FAST. 

-h — f^- 


C.    H.    IIOHMANN. 


^ 


*=$ 


4 


v 


•        W       j-  r        v        v        r        *        y        \j 

1.  How  love -ly      is    this  world  I  Here  man -y    joys    to      us     are    giv'n 

2.  It      is      no  vale    of    tears  I     For   God  hath  made  it    pass-  ing    fair, 


I 


i=£ 


9        fS 


* 


t=f=f? 


i 


^    r 

Bless-ings    fall       on      us      all ;  How  love  -  ly       is      this  world ! 
Good  and    fair,     pass -ing  f air ;  This     is       no    vale     of    tears  I 

3  The  fields  in  green  array'd,  The  cheerful  sunshine  warm  and  bright, 
For  our  joy,  for  our  joy,  Our  great  Creator  made. 


NATIONAL   MUSIC    READER. 


51 


4  He  made  the  fountain,  too ;  The  field,  that  gives  us  daily  bread, 
He  did  make  for  our  sake, —  Our  God  so  good  and  true. 

5  He  gave  us  parents  good,  Who,  that  we  may  good  children  be, 
And  may  thrive,  ever  strive !  He  gave  them  for  our  good. 

6  God  made  these  for  our  sake !  Then,  whether  rain  or  sunshine  be, 
Courage  take,  for  his  sake !  O  children,  courage  take ! 


Bi 


GOD  THE  LORD. 

&    1   D.        &        L.         U.        &    I  D. 


U.       &    I   D.         L.         U.       AD.       ft       L.        U.        &    \  D.        L.       U.      <fe 

I*  rrrr-r-rrlc  t  r  p-tirm 

Te  fe     Ta     Ta      Te    fe     Ta    fa     Ta     Te     fe   Ta     Ta     Te  fe    Ta- 


Ml 


$ 


h 


fe£ 


^=3: 


m 


T 
If 


I    ( Canst    thou    count 
'  1  Canst    thou     count 


the       stars    that      night  -  ly        Glis  -    ten 
the      clouds  that      light  -  ly       Float       a  - 


I 


^=4 


mm 


p 


- 


^t 


in         the         a    - 
bove      our      heads 


ZUre   vlU    God      the 
so      high  r  \ 


Lord    the     num  -  ber 


mmmmm 


know  -  eth 


Of    the 


T 


won  -  ders    that     he      show  -  eth,      In    their 


It* 


m 


i=^ 


i 


forms 


~V      *     i       r      »     >> 

In     their  count-less    va  -  vied  forms. 


count  -  less 


va  -  ried 


2  Canst  thou  count  the  insects  playing 
In  the  sunshine's  glowing  light  ? 
Canst  thou  count  the  fishes  straying 

In  the  sparkling  waters  bright? 
God  the  Lord  a  name  has  given 
To  all  creatures  under  heaven, 
|:  When  he  called  them  into  life.  :|| 


3  Canst  thou  count  the  children  daily 
Rising  from  their  beds  at  morn,— ^ 
Going  forth  to  wander  gaily, 

By  no  care  or  trouble  worn? 
God  the  Lord  in  all  delighteth, 
And  their  goodness  he  requiteth; 
|| :  Thee,  too,  he  doth  know  and  love.  :|| 


52 


THE   NEW   SECOND 
SPRING  WANDERING  SONG. 


MODERATELY  FAST. 


I 


m 


mm 


1F=* 


1.  Birds  are  sing  -  ing,  flow-ers  bloom-ing,  Nat- lire   smil-ing,    ev 

2.  Like  the  bird    in    cage  im  -  pris-on'd,  Have  we  been  the  win 


'J7 

ter 


mmmfrhtt*h£* 


£ 


•  where ;     Let      ns      forth    with  -  out     de  •   lay   •    ing,     O'er      the 
through;  Now    the      cage       is        o  -  pen'd  for  us,      Win  -  ter 


pleas  -  ant  mead-ows  stray-in g,Thro' the  wood  so  green  and      fair, 
hangs  no  long  -  er  o'er    us,     Let   us  fly,  then,  forth  a    -     new. 

3  Joy  reigns  thro'  reviving  nature,         4  Let  us  all  then  freely  wander 

Round  us,  with  us,  where  we  throng;         O'er  the  hill  and  verdant  plain, 

Joy  is  murm'ring  in  the  bow'rs,  Thro'  the  fields  and  sunny  meadows, 

Breathes  from  out  the  fragrant  flowers      '  Mid  the  woods  refreshing  shadows, 

From  the  nightingale's  glad  song.  Forth  into  the  world  again. 


EXERCISES   IN   TWO-FOUR   TIME. 

[Always  beat  the  time.        Teacher  and  pupils  alternately,  speaking  the  time 
names  very  distinctly.] 


15. 


Teacher. 
m       D.  U. 


Pupils. 
D.    U.  D.  U. 


D.     U 


r — rrr 


r—r  1  r    :il 


Ta        Ta  Ta-a  Ta        Ta 


Ta-a 


16. 


T. 


P.       &         U.       &  D. 


u. 


p. 

D.      &       U.      & 


U. 


^trcrtr  -rthc-rt^rtr — rH 

Ta    fa    Ta    fa       Ta        Ta  Ta    fa    Ta    fa      Ta         Ta 


NATIONAL  MUSIC   READER.  53 

FOUR  SOUNDS  IN  EACH  PART  OF  THE  MEASURE  FOR  THE  FIRST  TIME. 
[NOT   DIFFICULT.] 

When  there  are  four  sounds  of  equal  length  in  each  part  of  the 
measure  in  double  time,  the  time-names  are  Ta  za  fa  na,  Ta  za  fa  na, 

P. 

D.      &     U.        D.  &  U.  &  D.    &     U. 


Ta  za  fa  na  Ta  za  fa  na  Ta  fa    Ta    Ta  za  fa  na  Ta  za  fa  na  Ta  fa  Ta 


These  three  exercises  should  be  copied  upon  the  blackboard  at  first; 
unless  the  pupils  are  well  accustomed  to  using  books. 

In  beating  time,  the  motion  should  be  from  the  wrist  only,  and  the 
hand  should  move  very  quickly,  without  making  the  least  noise. 

THE   DOTTED   QUARTER-NOTE   IN  TWO-FOUR  TIME. 
18. 

y.  p. 

D.       &       U.       &        D.     U.    &  D.      &       U.      &       D.    U.        & 

Ta    fa     Ta    fa     Ta  -  a    fa        Ta    fa    Ta    fa     Ta  -  a    fa 

It  will  greatly  assist  the  mind  in  comprehending  the  relative  value 
oj?  the  dotted  quarter-note,  to  think  of  it  as  tivo  heats  long.  Both  the 
down-  and  up-beats  are  perfectly  performed,  and  the  hand  is  at  rest 
after  making  the  up-beat,  before  the  eighth-note  which  follows  is 
sung. 

THE   DOTTED   EIGHTH-NOTE. — [NOT  DIFFICULT.] 

19.     T. 

D.  &  U.  &  D.        &  V.        & 

r  r  *  r  ' *  *  r  r f"  ~t^~  ~rt 


|2 


Ta    za    fa     na  Ta    za     fa     na     T'a-a-a   na     Ta-a-a  na 

P. 

D.  &  U.  &  D.  &  U.         & 

Ta    zii    fa    na   Ta    za    fa     na     Ta  -  a  -  a  na     Ta,  -  a  -  a  na 

The  above  exercises  should  be  done  with  spirit,  both  as  to  beating 
time  and  uttering  the  time-names.  Right  practice  only,  will  secure 
a  clear  understanding  of  the  dotted  eighth-note.  It  may  be  well 
to  repeat  each  of  the  above  exercises  four  times. 


54 


THE   NEW   SECOND 


'2 


D.       &  U. 


PRAISE  OP  SINGING. 

D.      &  U.         D.      &       U. 


D.      &       U. 


Ta    fa  na  Ta   fa       Ta    fa  na  Ta    Ta     fa    Ta  za  fa  na     Ta    fa    Ta 


H 


D.       &  U.     & 


D.  &  U.  I>.      &       U. 


Ta    fa  na  Ta     fa  na      Ta  za  fa  na  Ta        Ta    fa     Ta  za  fa  na       Ta     Ta 
D.      &  U.      &         D.      &  U.        D.     &       U.  &  D.       &       U. 


Ta    fa  na  Ta    fa      Ta    fa  na  Ta     Ta    fa    Ta  za  fa 


na 


Ta    fa    Ta 


J.    A.    HlLLER. 


i 


IfEE* 


-4-    J     *    *    j_j 

T^7  * 


1 


*=^ 


1 


rrd"  £=r  ^Jf 


v— =a- 


*     (  Chil  -  dren  all  with   cheer-ful  -  ness   Let  your  songs  be 
'   (   Mu  -  sic      all  your  lives  will  bless,  Therefore  still     be 


ring  -  ing ! 
sing-ing! 


r- 

Sing-ing  smooths  the      rug  -  ged    way  Thro' this  vale     of         sor-row, 


Sing  -  ing  cheers  the  dark-est     day,Brings  the  bright-est        mor    -  row. 


2  When  good  humor  flies  away, 

Then  come  care  and  sadness ; 
Quickly  sing  a  cheerful  lay, — 

All  will  soon  be  gladness; 
Music  cheers  the  darkest  hours, 

Peace  and  comfort  bringing ; 
What  the  dew  is  to  the  flow'rs, 

To  the  soul  is  singing. 


3  Sing  the  larks  in  yonder  sky, 

Sing  the  birds  at  even, 
Swallows  from  the  house-top  cry, — 

All  give  thanks  to  Heaven. 
Forest,  field,  and  meadow  too, 

With  their  songs  are  ringing ; 
Wherefore,  children,  should  not  you 

Evermore  be  singing  ? 


NATIONAL   MUSIC   READER. 
THE  SILV'RY  MOON  ADVANCES. 

D.      &  U.        &  D.  U.        &  D.        &  U.         & 


,55 


D.       U. 


Mir  g"g  g I r   g  gig  g  g  Mr  ? 

fa      Tii-a-a  na  Ta      fa        Ta       Ta      fa      Ta      fa      Ta      fa       Ta     Ta 


u.      & 


D. 


D. 


gig'  rgrfr-g 

fa      Ta-a-a  na    Ta    fa      Ta        Ta    fa 


U.     & 


D.     U. 


g+S^-g-rlT^i 


Ta  zii  fa  na  Ta    fa       Ta     Ta  . 


m 


j 


3 


9 


1.  The     sil  -  v'ry  moon  ad  -  van  -  ces,  O'er    lof  -  ty    hill  and    tree, 

2.  She  comes,    so    soft-ly     steal  -  ing,    A  -  cross  the  stil  -  ly    night; 


I 


£fefe 


t 


P? 


I 


g§^l=rg  r  r 

Who,  'mid      the  star  -  ry       dan  -  ces,  So       beau  -  ti    -  f ul    as     she  ? 
How    man    •  y  hearts  are      hail  -  ing,  Her      mild   and  friend-ly  light  1 


*     w 


3  Our  eyes  she  gently  closes, 

When  daily  toil  is  o'er ; 
The  weary  earth  reposes 
Beneath  her  soothing  power. 

4  She  comes  with  night-dews,  healing 

The  soul  with  pain  distress'd ; 
She  wakes  the  sweetest  feeling 
Within  the  lonely  breast. 


5  Our  heavenly  Father  lends  us 
This  trusty  friend  by  night ; 
May  he  a  spirit  send  us, 
As  pure  as  her  pure  light. 


56 


THE   NEW   SECONp 


SOME  OF  THE  MOST  COMMON  CHROMATIC  SOUNDS  IN  THE  KEY  OF  G. 
L20. 


EE^ 


3=3 


'4- 


-4- 


7 
fis 


ft 
gis 


3    #a 


t 


% 


E^i 


5     #4       5 
d      cis       d 


SHARP-FOUR  IN"  THE   LOWER   SCALE. 


i 


,21. 


1 


i 


^ 


IF 


THE    EVENTIDE. 


?2 


S 


t  r  J,    T,   t    5  *  t  r    t    "    "    v    " 

^       L'        U        U>        ^         "  P      .U 

1.  Oh!  lay  your  wea  -  ry  work  a  -  side    Oh  1  put  your  cares  a  -  way; 

2.  How  sweet  when  work  is  laid  a  -  side,  And  closed  the  doors  of  school, 


A 


It      is    the  plea-sant    e  -    ven-tide,  The  mer-ry    time    of    play. 
A-mong  the  spread-ing  trees  to  hide,That  shade  the  lim -pid  pool; 


£=£ 


£ 


t=t 


*        ]/        "  '      V        »         V      V       ¥        '\j       V       V       V         \ 

And  hark  !  the  shout-ing    on    the  green, And  by  the  pal  -  ing    grey, 
Let    joy,  then  light  up      ev  -  'ry  face,  Come  all,  with  glad  ar  -  ray, 


I 


i 


±3t 


z  z 


TT&T 


Z  u   v    v  Z  Z  '< 

Where  man-y  a  mer  -  ry    face     is  seen,  As    gen  -  tly    falls  the  day. 
And    let     us  run      a      mer  -  ry  race,  As     gen  -  tly    falls  the  day. 


[3r d  stanza  at  foot  of  opposite  page.~] 


NATIONAL  MUSIC   READER. 


57 


,22. 


m 


rrr 


i 

Oh,  wake  and  let  your  songs  resound,  And  let  your  songs  re  -  sound, 


i 


EE* 


mm 


m 


rrr 


For     sa-cred  free-dom  here    is  found,  For  free- dom  here    is    found. 


rrr 


TRUTH  AND  HONESTY. 

Fromthe  German,  by  Mrs.  Shindler. 


W.  A.  Mozart. 


I 


mmm 


1 — t 


At  -  tend  thee  all 


f 


r  TjT 

Let  pre-cious  truth  and  hon-es 


T 

ty 


2.  Then,  as     on  past-ures  fair  and  green  Thro'  life  thy  feet 


thy     days, 
shall  roam, 


i 


I 


i 


r       r       r      ■#- 

i    I     it 

And  turn  not  thou  a     fin-ger's  breadth  From  God's  most  holy    ways. 
Nor  fear  nor  ter  -  ror  shalt  thou  feel,  When  death  shall  call  thee  home. 


3  The  wicked  man  in  all  he  does 
Is  ever  sore  distressed ; 
His  vices  drive  him  to  and  fro ; 
His  soul  can  find  no  rest. 

£  The  joyous  Spring,  the  waving  trees, 
For  him  smile  all  in  vain; 
His  soul  is  bent  on  lies  and  fraud, 
And  on  ill-gotten  gain. 


5  To  him  the  leaf  by  breezes  stirred 

Has  terror  in  its  sound ; 
And  when  he  's  buried  in  the  grave, 
His  soul  no  rest  has  found. 

6  Then  practise  truth  and  honesty 

Through  all  thine  earthly  days, 
And  turn  not  thou  a  finger's  breadth 
From  God's  most  holy  ways. 


[Concluded  from  opposite  page. ,] 
3  Oh !  pleasant  is  the  merry  ring,  But  fainter,  fainter  grows  the  sound, 

The  race  o'er  hill  and  dale,  Less  jocund  is  the  play,  [round 

And  lightsome  are  the  hearts  that  sing,     For    twilight    shades    are   gathering 
When  ev'ning  sports  prevail.  As  gently  falls  the  day. 


58 


THE  NEW  SECOND 


3f#fis 

3         & 

ai 

8    1       «T 

1    c  ffor  cis 

G              l» 

5              a 

4/m     * 

3%i 

a            e 

8      1               «l 

1             off  or  cis 

e                 b 

5                       a 

KEY    OF  D. 

[Chart  No.  27  is  placed  before  the  class, 
answered  from  the  diagram.] 


Questions  to  be 


What  is  the  pitch  of  one  in  this  key? 

What  is  the  pitch  of  three  ?  Of  seven  ? 

Which,  sound  of  the  scale  comes  with  the  g-clef  ? 

What  new  chromatic  sound  in  this  key? 

Why  is  c-sharp  or  cis  used  in  this  key? 

Why  is  f-sharp  or  fis  used  in  this  key? 

[The  teacher  will  lead  the  class  to  know  how  to  get  the 
pitch  d  from  the  pitch-pipe,  (either  from  c  or  g),  and  have  the 
pupils  sing  the  middle  scale  by  the  scale-names,  syllables,  and 
pitch-names ;  then  the  upper  and  lower  scales.  The  teacher 
may  write,  in  figures,  some  well  known  tune  upon  the  black 
board,  as  follows,  and  have  the  scholars  sing  it.] 


D4  3-  3, 2,|3,  5,  5-|3-  3,  2,[1-  0-:|8-8, 6, 
6, 5, 5-|3,  2, 3, 5, 1 6, 5, 5-|8-  8,  6,|6, 5, 5- 

3-3,  2, 1 1-0-1 

The  diagram  appears  upon  the  staff  thus: — 


1 


¥= 


■pi 

7 
cis 


-&- 


^ 


~&1 


& 


It* 


3 

fis 


[The  teacher  will  explain  the  key  signature,  write  it  upon  the 
blackboard,  and  have  the  pupils  copy  it ;  thus : 

It  should  not  be  any  longer  neccessary  to  write  the  parts  separately  for  the 
convenience  of  study.  In  all  two-part  songs,  let  the  second  or  lower  part  be 
learned  first,  by  all  the  class;  then  the  first  or  upper  part.  All  the  songs  should 
be  learned  by  note,  both  as  to  time  and  tune;  just  as  if  there  were  no  words 
to  the  music] 


NATIONAL  MUSIC   READER. 


59 


3. 


U-t  r  rir 


o 


lES 


m 


* 


m 


JU 


i=± 


^r=f 


r 


f 


MORNING  PRAYER. 


3 


i- 


M 


f 


T 

1.  To        Thee,       Fa  •    ther,      Cheer  -  ful  thanks  I         pay; 

2.  Sweet  •  est         slum  -    ber,      Night    has     giv  -  en        me; 


i 


-i 


J=i 


?=^=p 


^=f=rtf 


r 


Thou      hast       brought      me  To      an  -  oth  -  er        day. 

Sleep        re      -      fresh    -  ing,      Makes  me  strong  to  be. 


3  This  day,  dawning, 
Bringeth  new  delight 
Let  me,  Father, 
Spend  it,  then,  aright. 


4  Heavenly  Father, 

Oh  I  thy  blessing  give ; 
That  obedient 
I  may  ever  live  I 


Exercises  Nos.  2  and  3,  upon  Chart  27,  are  not  so  difficult  in  the 
time  as  they  appear  to  be.  This  is  a  good  opportunity  for  mastering 
the  dotted  eighth  followed  by  a  sixteenth,  in  four-four  time,  as  in  the 
second  measure  of  No.  2.  If  the  pupils  meet  with  any  difficulty  in 
comprehending  these  time  relations,  the  following  exercises  may  help 
them  to  put  the  enemy  under  their  feet. 


TIME   EXERCISES   IN"   FOUR-FOUR   MEASURE. 
5. 

D.       L.       R.      U.    ,     D.    &     L.     &     R.    &    U.    &      I  D.   L.    &    R.      U.    I     D.L.R.  U. 

TTrrfa-u^Ttrrr-rr  Mr  * 

Ta    Ta  Te    Te     Ta  fa  Ta  fa  Te  fe  Te  f e      Ta-a  fa  Te  Te     Ta-a-e  Te 


60 


THE   NEW  SECOND 


POUR   SOUNDS   OF   EQUAL   LENGTH   IN  EACH   PART   OF  A   FOUR-FOUR 

MEASURE. 
(  First  time,  by  the  teacher;  second  time,  by  the  pupils.) 


U.  &  I   D.        L.    &        R.         U,      I J 

rs^m+f-rr-fHHl 


Ta  z'a  fa  na  Ta  za  fa  na  Te  ze  fe  ne  Te  zc  fe  ne  Ta    Ta  fa     Te     Te 


7. 

[4     »•      * 


THE   DOTTED   EIGHTH-NOTE. 
(  First  time,  by  the  teacher;   second  time,  by  the  pupils.) 


L. 


R.        & 


D.       &  L. 


R.  U. 


*~i — n — \rt — rr~ra"-& — rr-r- 

Ta-a-'a  na     Ta-a-a  na   Te-e-e  ne    Te        Ta    f'a      Ta-a-a    na   Te       Te 


SOME   OF  THE   MOST   USUAL   CHROMATIC   SOUNDS   In  THE   KEY   OF   D. 
8. 


m 


V 


i^3 


s 


~—e> 


7 
cis 


2       jfl 
e        dis 


3       p  3 

fis       eis*      fis 


I 


is=* 


t 


72 


5. 


* 


^ 


&-- 


I 


5 
a 

9. 

[4  u.  &  I 


gis 


5         6       #5 
a         b        ais 


7       #6  7 

cis      bis        cis 


D.   L.   &      R.       U.       D.     A         L.         &        R.       U.        D.  L.  R.  U.         D.  L.  R.    I 

r  g  r  r  Irjr  gr  r  Ir  •  r  Ir  HI 

Ce    Ta-'a-'a  na  Ta-a-a  na  Te    Te      Ta-a-e  Te      Ta-a  Te 

'  -j t Ji  yp'  fcM'.in  fin 


Id: 


? 


g^j^+J- 


-N K- 


Pfifs 


FWfFFffWf 


1 


Pronounced  ees. 


NATIONAL  MUSIC   READER. 
EVENING  SONG. 


61 


mm 


ifjggj — I    1         Is    -1     — j — F=n= — s-      rs         iK     i       =; 


1.    If 


I've      ful-filled     my       dai   -    ly    task  a-right,      And 


whh^b 


j=f 


u 


ev 


'ry        du    -    ty  done, 


Then 


joy 


to    me    when 


i 


^& 


'$=£ 


WB 


P=f=l 


I 

dark  -  est  shades    of    night  Shall 


rtrtrry 

cloud      the        sink     -     ing 


i 


$=L 


sun;  How      cheer  -  ing,     then,     how      calm 


I 
ing, 


I 
The 


^^fThh^ 


m 


u^ 


t 


gold  -  en      lin  -  g'ring      ray !  The 


ev 


-    en  -    tide 


is 


& 


Pp¥ 


m 


a 


§^H 


r 


charm    -    -    -    -      ing  That  ends      a       well  -  spent      day. 

2  But  woe  to  him  whose  eye  that  hour  is  dim 

With  sin-repenting  tears ; 
No  anguish  ever  can  restore  to  him 

The  joys  of  wasted  years. 
Oh,  precious  are  the  power 

And  time  that  God  has  giv'n  : 
May  I  each  passing  hour 

Lay  up  some  store  in  heaven ! 


H2 


THE   NEW   SECOND 


FOUR  SOUNDS  OF  EQUAL  LENGTH  IN  EACH   PART   OF  A    rHREE-FOUB 

MEASURE. 
(  First  time,  the  teacher ;  second  time,  the  pupils.) 

L.  &  U.  &  D.         &  L.  &  U. 


11 

D. 


II— t=£i=r-£X=t=r-£x=£f-h 


Ta  z'a  fa  na   Ta  za  fa  na    Te  ze  fe  ne 
12. 


D. 


U. 


Ta     fa 

D.    L. 

-4 


i  I 


Ta-a-an'a    Ta-a-ana     Te-c-ene        Ta-a    fa 


I 
Te 


HI 


Ta      fa       Te 

&        u. 


fl 


U. 


THE  FLOW'RET. 

&  L.  &         U.         i 


fa    Te       fe 


rrl 


L.    & 


-¥-#- 


u. 


fe       Ta     Ta   fa     Te       fe 


T'a-*a-a  na  Ta 


fa      Te 


D.      &     L.     &     U. 


rrrrrrir 


D.     L.    &     U.    &      D.      & 


Ta-ii-anaTafa  Te  fe     Ta    2a  fa  Te  fe    Ta-a-a  na  Ta  fa  Te  fe     Ta     Ta 


L.      &      U.    &       D.      L. 

-HI 


fk 


m 


A 


1.     A  -lone 


tit 


-N-^- 


C3~ J — * — & — g 

wan-der'd    in      for  -  est     wild, 


^     ^ — ^_ 

U        U        U 
With    care  -  less 


«3^ 


-7-#- 


footsteps  the  time  be-guiPd,  With  careless  footsteps  the  time  be-guil'd. 


ff     P  I  r^-lr^-^r^ 


2  A  tiny  flow'ret  was  blooming  there, 

|| :  Like  eyes  it  sparkled;  t  'was  starlike  fair.  :|| 

3  I  stooped  to  break  it,  and  heard  it  say : 

|:  "  Wilt  thou,  then,  break  me  to  fade  away?  :|| 

4  I  plucked  it  gently,  both  root  and  flow'r, 

|| :  Homeward  I  bore  it  unto  my  bow'r,  :|| 

5  Again  to  plant  it  in  shelter  there  ; 

|| :  And  still  it  blossoms,  that  flow'ret  fair.  :|| 


NATIONAL  MUSIC   READER.  63 


THE  MOON. 


J,  Merling. 


m 


3: 


F^ 


i 


1  r 

l.    Love    -    ly    moon,    that      soft 


ly    glides 


3C 


Through     the 


M 


fefe^ 


S 


? 


t^=f^r 


r 


1     >     1 

realms      where    God         a  -  bides ; 


r 


mmm 


fa=±q=* 


Through    the    realms  of 

1     Kj    !     ' 


2 


o 


rr 


feB 


f^rr- 


up      •    per      s 


U 


In  the     arch  -  ed     heav'ns  on     high  ;- 


2  In  the  gloomy  night,  thy  ray  3  Bright  thy  smile  when  cares  annoy, 
Lights  the  pilgrim  on  his  way :  Token  of  that  heav'nly  joy 

When  the  shades  of  darkness  come,        That  shall  reign  in  realms  above, 
Thou  dost  guide  him  to  his  home.  Breaking  forth  in  songs  of  love. 


THE  CALL  TO  PRAYER. 


:fe=t 


Iffl 


Efc 


E33 


rr=f 


rr 


i  -     V 

Be  -  hold    how  brightly  morn-ing    A  -  wakes  each  bird  and  flow'r,  The 


m 


^ 


i— j  1  j  .  ;  t  jn4-U^^- 


hills      and  lakes  a  -  dorn  -  ing,  While  church  bell's  solemn  warn-ing    Pro 


± 


m 


t 


£ 


i 


^ 


r 


f 


claims  pray'r's  sa  -  cred    hour,       Pro  -  claims  pray'r's  sa  -  cred  hour. 


64 


© 

fSoi 

fis 

5 

"e 

4 

<l 

3 

% 

cjfor 

CIS 

1» 

l 

a 

r»or  gis 


f  jtorfis 


_«Sj 


THE   NEW   SECOND 
KEY  OF  A. 


1. 


I 


-25>- 

2 

b     cis 


3     4     5 


=M 


^: 


*= 


22: 


fc 


1 

6      7      8 
e     fis    gis     a 


2      3 


CIS 


6 
fis 


The  pupils  will  observe  by  looking  at  the  diagram, 
that  in  the  lower  scale  there  are  three  chromatic  sounds, 
and  that  the  new  one,  g-sharp  or  gis,  comes  upon  the 

seventh  degree  of  the  scale. 

Instead  of  writing  the  g-sharp  on  the 

second   line,  after  the  f-sharp   and   c- 

sharp,  thus: 

It  is  written  upon  the  first  space  a- 
bove  the  staff,  thus: 


3 

lor 


& 


-.an 


i 


[The  teacher  will  practise  from  Chart  29,  as  in  the  pre- 
vious keys ;  also,  the  following,  by  the  syllables  and  pitch- 
names.  Notice  carefully  that  the  long  notes  at  the  end  of 
a  phrase  are  given  their  full  time.] 


M 


m 


s 


Kpfc* 


£=E 


£3 


12      3      4      5      6      5 
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NATIONAL    MUSIC    READER. 
FLAT-SEVEN   IN  THE   KEY   OF   A. 


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SHARP-FOUR   IN   THE   KEY   OF   A. 


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INDEPENDENCE - DAY. 


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1.  This   day      to    greet,  With  joy    we  meet ;  Then  ban  -  ish  care      a  - 

2.  Our      fa  -  thers  brave,  The  land    to  save,     Did   free-dom's  call      o  - 


** 


f-+    r    '    L    '  f b — I        D — 'I         u      i  i^- 


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With      fes  -  tive  cheer,  Come,   has    -  ten     here ;    'T  is 
bey!  By      young  and     old     Their  deeds       be      told;    'Tis 


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In  -  de-pen-dence  -  Day, 


'T  is     In  -    de  -  pen-dence  -  Day  I 


66 


THE   NEW  SECOND 


COME  AND  SEE  HOW  HAPPILY. 


ALLEGRETTO. 


English  Air. 


£ I     "     v  ■    P       \   V     V .   I  ;     I         ' 

1.  Come  and    see    how    hap  -  pi  -  ly     We     spend    the        day, 


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In  our  books  and  sports  combined,  Man- y     are    the    joys  we    find. 


2  We  improve  the  present  hour, 
For  swift  it  flies ; 
Youth  is  but  a  passing  flow'r, 
Which  blooms  and  dies ; 


But  with  study  and  with  song, 
Time  with  us  still  glides  along. 

Come  and  see  how  happily 
We  spend  the  day,  etc. 


9 


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CHILDHOOD. 

* K N- 


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r  r  tit  >  v  >  '   -  un 

1    (    O    time    of  sim  -  pie  pleas-ures !  I      nev  -  er  can     for 

*  \  Those  hap-  py  hours  of  child-hood,Like  peace-f  ul  jew  -  els 

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with  -  out      a      sor  -  row,  And  wake  with  ear  -  ly  morn, 


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CJ 


To  watch  the    sun  -  ny    mor-row  Rise     thro'  the       ro     -  sy    dawn. 


2  No  cares  or  griefs  distress  me, 
The  future  is  all  bright ; 
In  parents,  brothers,  sisters, 
I  constantly  delight ; 


I  strive  to  please  my  teachers 
By  diligence  and  love, 

And  day  by  day  endeavor 
My  gratitude  to  prove. 


HATIOKAL  MUSIC   READER. 
FRIENDSHIP. 


I 


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fe 


67 


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1.  A  -  wake,  a  -  wake  the     tune  -  ful  voice,And  strike  the    joy  -  ful 
2. 'Tis  not    the    cold   and    for  -  mal  drawl  That  wakes  the     in  -  ward 


t 


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s— t 


# — f—0 — * ^ 

h    u     i — f 


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strings ; 
flame : 


We  '11  pour    the       mel  -  low        notes      a    -    long,  And 
But      'tis      the      song    that       glows     like      fire,     The 


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^^ 


raise  a    peal-ing,  gladd'n-ing  song,  Till  heav'n  with  mu-sic    rings, 
song  that  feel-ing  hearts     in -spire, — A     mu  -  sic  worth  the  name. 


3  But  hark !  those  sweet,  concordant  notes, 

That  breathe  a  magic  spell, 
That  seem  like  songs  the  angels  sing, 
Like  sounds  which  have  in  heav'n  their  spring, 

Where  holy  beings  dwell, — 


'T  is  these  that  glow  from  Friendship's  soul ; 

'T  is  these  that  speak  the  heart : 
'T  is  these  that  show  the  peaceful  mind, 
The  spirit  meek  and  pure  and  kind, 

Unstained  by  vicious  art. 


5  Oh,  yes  !  't  is  here  that  music  dwells, 
In  Friendship's  sweet  abode ; 
'T  is  here  that  notes  concordant  sound, 
'T  is  here  that  harmony  is  found 
Like  that  which  dwells  with  God. 


68 


THE   NEW   SECOND 


CHANGE  OF  SEASONS. 

From  the  German,  by  Mrs.  S.  B.  Dana  Shindler. 

N.N  I     9 


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.   f  How  pleas-ant  the  change  of   the     sea  -  sons,     As     on  -  ward   for 
'  \  What  pleas-ure,what  joy    nev  -  er  -  end  -  ing    They  bring    to      the 


H 


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ev  -  er    they   roll !  > 
care-wea-ried  soul!) 


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The  Spring  with  its  warmth  and     its 


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A  -  wak  -  ens      all    •  nat  -  ure      a    -    gain, 


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\,  " [,         * 

Gives      life       to      the    trees    and      the 


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seeds    and     the    mead-  ows     and    plain. 


r 


2  The  long  shining  day  of  the  Summer    ! 

Do  ripen  the  birth  of  Spring, 
And  when  we  are  weary,  complaining, 

Do  soft  cooling  fruits  to  us  bring ; 
And  then  comes  the  wonderful  blessing 

Which  Autumn  so  richly  doth  yield, 
When  ripens  the  grass  in  the  meadow, 

And  ripens  the  grain  in  the  field. 


Then  Winter  comes,  silently  pouring 

Her  white,  fleecy  snow  on  the  ground ; 
Tho'cold  and  tho'  stormy,  what  pleasure 

In  skating  and  sleighing  is  found! 
So  love  we  the  change  of  the  seasons, 

As  onward  for  ever  they  roll ; 
For  pleasui  b  and  joy  never-ending 

They  bring  to  the  care-wearied  soul. 


NATIONAL   MUSIC   HEADER. 
WISDOM  OF  YOUTH. 

;     &      D.  &    &    U.    &    &       D.  &    &     IT.     &      &      D.    & 


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2a  Ta  Te  Ta-a  Te  Ta  Ta  Te  Ta-a  Te  Ta  Ta  Te  Ta-a  Te  Tii  Ta-e  fe  Ta-a-e 


I 


From  the  French.-\- 

RATHER  LIVELY. 


F.  Lauterburg. 


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tho't,    and    plaint,  and  yearn-ing,  Near-er,  near  -  er  brings  the  end. 


Moments  flee,  and  all  things  teach  us 

That  the  past  comes  ne'er  again  ; 
All  too  soon  the  time  must  reach  us, 

When  regrets  shall  be  in  vain. 
Let  not  glowing  youth's  fair  treasures 

Fade  in  indolence  away ; 
Know  that  life's  enduring  pleasures 

Grow  from  action,  day  by  day. 


Oh,  remember  thy  Creator, 

While  thy  life 's  without  a  care ; 
So  his  grace  shall  guide  thee  later, 

Saving  thee  from  sin  and  snare  ; 
When  thy  head  by  age  is  whitened, 

Warning  thee  that  death  is  near, 
All  thy  life  by  God's  love  brightened, 

Thou  shalt  go  without  a  fear. 


70 


THE   NEW   SECOND 


KEY   OF  E. 


8              e 

;*rt#ordis 

;  <ft  ctforpis 
5                 b  | 
4              "a  1 

■  3    "gftorgk 
»  f#orfis 

8      71               e 

< 

*            djfordTs 

«           B#orcT« 

5                         T> 

[The  pupils  should  be  directed  to  give  their  attention  to 
the  diagram  on  Chart  31  (or  that  on  this  page),  and  examined 
as  to  the  pitch-names.     They  will  observe  that  the  new  chro- 
matic sound  in  the  formation  of  the  scale  in  this  key  is  d-sharp 
(or,  in  singing,  dis),  and  that  it  comes  on  the  seventh  degree. 
There  will  be  no  difficulty  in  going  directly  to  the  practice 
of  the  following  exercises  and  songs.     They  should  also  be  re- 
quired to  beat  the  time  in  these  and  all  exercises,and  care  should 
be  taken  that  this  be  done  with  precision  and  quietness. 
Beating  time  is  of  no  avail  unless  well  done.     If  the  beating 
be  sluggish,  the  singing  will  be  of  the  same  quality. 

We  have  now  had  the  scale  and  songs  in  five  different 
keys,  but  have  said  nothing  about  the  relation  of  one  key  to 
another.  There  are  four  more  keys  to  be  learned,  making 
in  all  nine.  The  study  of  Modulation  from  one  key  to  another  is  given  its  nat- 
ural place  in  the  Third  Series  of  Charts  and  Third  Reader,  where  it  is  presented 
from  a  harmonic  point  of  view,  in  accordance  with  the  best  authorities.] 


te 


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NATIONAL   MUSIC    READER. 


71 


m-ttrts 


Chorii 


THE  JOYS  OF  INNOCENCE. 


« 


pm 


1.  Joy       is   round     us,      smil  -  ing      ev    -     'ry    where! 

2.  Love      is      rul  -   ing,    work  -  ing      ev    -     'ry    where, 

Duet.  9 


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On      the      hills    and    riv  -  ers    smil  -  ing,     Ev  -  'ry      hu    -   man 
In       the      cool    and    sha  -  dy    bow  -  ers,  Where  the    trees      are 

Chorus. 


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care  be-guil-ing;    Joy  is  round  us,  smil -ing    ev-'ry  where, 
decked  with  flow-ers ;  Love  is    rul-  ing,work-ing    ev-'ry  where. 

3  Pleasure  echoes,  echoes  far  and  near, 

From  the  green  banks  decked  with  flowers, 
Sunny  hills  and  pleasant  bowers ; 
Pleasure  echoes,  echoes  far  and  near. 

4  Maiden,  up,  and  weave  a  flow'ry  crown : 

See  the  buds  their  leaves  unfolding  ; 
Love  her  festival  is  holding : 
Maiden,  up,  and  weave  a  flow'ry  crown. 

fi  Go  ye  forth  and  join  the  May-day  throng ; 
Sings  the  cuckoo  by  the  river ; 
In  the  breeze  the  young  leaves  quiver; 
Go  ye  forth  and  join  the  May-day  throng. 


72 


THE   NEW   SECOND 
PEACE. 


PPf 


ms 


S=a 


&^f-f-Li 


1.  Gen  -  tie     Peace,  from    heav'n     de     -    scend-ed,      We      would 

2.  Thou  hast  thrown     a        smile      of  beau  -  ty       O'er     the 


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live      be     - 
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be    -  friend-ed,  Nurse    of  no    -    bier   deeds  than   war. 

to  du  -  ty,    Thou  hast      warmed  our    hearts    to      love. 


3  Ours  is  now  each  smiling  flower, 

Ours  the  lofty  mountain-pine, 

Ours  the  fruit-tree's  golden  shower, 

And  the  close-entwining  vine. 

4  Still  stay  with  us,  still  replenish 

Fields  with  fruit,  ourselves  with  love ; 
Discord  and  dissension  banish, 
Peaceful  Spirit  from  above. 


CHILDHOOD  PLEASUKES. 


I 


« 


m 


«     (  Come,    let       us, 
'  (     We     prize  them      high  -  ly^ 


sing    -  ing,     speak    out   those      pleas  -  ures ; 
a    -  bove     all       treas  -  ures ; 


NATIONAL   MUSIC    READER. 


73 


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0        -         r  r 

^           1/              I                y            "            •  \j  I 

Which  crown    our        child  -  hood,  those  days  so  dear ;  > 

How  bright   their      sun  -  shine,    how  sweet,  how  clear  1   \ 


II 


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9 


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Our    days  are    May  -  days,  with  -  out    a    cloud,      Then     let      us, 


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sing  -  ing,  re-joice  a  -   loud.     Our  child-hood  pleas-ures   are  like  the 


■m 


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riv  -   ers,  Whose  on-ward     flow  -  ing    is     deep    and      free. 


Oh,  how  we  're  favored,  to  live  so  cheerful, 
So  free  from  sorrow  and  free  from  care, 

While  many  round  us  are  sad  and  tearful, 
For  sad  misfortune  does  not  them  spare ; 

Then  we  '11  be  happy  while  yet  we  can, 

While  days  of  childhood  shall  yet  remain. 
Our  childhood,  etc. 


Yes,  we  will  ever,  by  night  and  daily, 

Sing  forth  our  pleasures  in  full  good  cheer ; 

We  're  yet  in  childhood,  and  all  goes  gaily ; 
Our  age  of  sadness  is  not  yet  near ; 

Then  let  our  voices  resound  aloud  ; 

For  all  is  sunshine, — there's  not  a  cloud. 
Our  childhood,  etc. 


74 


THE   NEW   SECOND 


SHARP-FOUR   IN   E. 


feSEFfe 


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HOW  LOVELY,  HOW   CHARMING. 


German. 


I 


a 


Pt 


hN^W 


1.  How   love  -  ly,    how   charm-ing,  has      na  -  ture  been  made  !    The 

2.  How  green    are    the   mead-ows !  how  bright  is      the  morn !    How 


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hill        in        the  sun-shine,   the     walk      in       the      shade,     The 

glit    -  ter       the  dew-drops    on      lau   -    rel      and      thorn!  How 

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wild     rose,      a    -   dorn  -  ing    the      hedge  with      its     bloom,     And 
pearl  -  y       and      pure     is     the        bri   -    ar        in      bloom !  How 


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load  -  ing      the        air    with      its      wealth     of        per    -  fume ! 
love  -  ly        the      May-flow'rs,  how      sweet  their     per    -  fume  I 

3  The  aspen-tree  flutters,  and  whispers  its  fear  ; 
The  linden  invites  all  the  bees  to  draw  near  ; 
The  willow  bends  low  its  frail  branches  to  lave 

In  the  lake,  where  the  clouds  seem  to  float  on  the  wave. 

4  How  lovely,  how  cheering,  has  nature  been  made  ! 
The  flow'rs  in  the  sunshine,  the  brook  in  the  shade, — 
All,  all  with  their  charms,  were  bestowed  with  our  birth, 
To  cheer  aud  enliven  our  pathway  on  earth. 


NATIONAL   MUSIC    READER. 


75 


u.  & 


THE   WANDERER'S    RETURN. 

&     U.     &    &     I).  &    &    U.     &    &      D.  &    &     U.     &    &     d.  &    & 

ttf— rcrrtr- rcrrtr-rt 

Ta  Ta  Te  Ta-a  Te  Ta  Ta  Te  Ta-a  Te  Ta  Ta  Te  Ta-a  Te  Ta  Ta  Te  Ta-a  Te 

Italian  Melody. 

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1.  When,  my        fa  -    ther's   home      for    -    sak    -  ing,     Far         o'er 

2.  When,  in        dis    -   tant    lands        a         ran   -   ger,     None        I 


ft 


sea      and      land     to     wan  -  der, — When,each    tie      that  bound  me 
found      to      know  and    love     me, — When,     a     lone     and     wea  -  ry 


^=— fa^ — qvT~n       l*=^rl — r  I    I    J 


break  -  ing,     Proud  of      free  -  dom,     gay        I  roamed, —  Sweet  -  ly 
stran  -  ger,      Sad,       I      pined    for     friends  and  home, —  Then    how 


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smiled    the    world    be  -  fore     me,  Sweet  -  ly  smiled     the      heav  -  en 
sad       the     world    be  -  fore     me ;  Then  how  chill    the  heav'ns  frown'd 


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o'er  me,Hope  on  joy-  f ul  pinions  bore  me  Over  paths  with  flow'rs  bestrew'd. 
o'er  me,Hope  no  long-er  gai  -ly  bore  me, Flow'rs  for  me  no  longer  bloom'd. 

3  When  my  footsteps,  homeward  turning, 

Sought  once  more  the  household  altar, — 
When  my  heart,  impatient  burning, 

Long'd  the  dear  ones  there  to  greet, — 
Then  how  smiled  dear  home  before  me ! 
Then  sweet  memory  flutter'd  o'er  me, 
Then  sweet  hope's  light  pinions  bore  me, 

Peace  and  joy  at  home  to  meet. 


76 


THE    NEW   SECOND 


_8 r 

_f «[ 

_« d 

j» Ji 

4     I*?  be~s 
3  a 


KEY  OF  F. 

It  will  be  observed  that  each  new  key;  starting  from 
the  key  of  C,  has  been  founded  upon  Five  of  the  key 
before  it:  G  was  Five  in  the  key  of  C;  D  was  Five  in 
the  key  of  G;  A  was  Five  in  the  key  of  D;  and  E  was 
Five  the  key  of  A. 

In  the  keys  with  flats,  starting  from  C,  each  new  key 
is  founded  upon  Four  of  the  preceding  key;  thus,  F  is 
Four  in  the  key  of  C,  and  the  same  relation  will  be 
observed  in  the  succeeding  keys  with  additional  flats. 

In  this  key,  as  may  be  seen  by  the  diagram,  it  becomes 
necessary  to  use  the  chromatic  sound  b-flat  (or,  in  sing- 
ing, bes)  to  make  the  semitone  come  right  between  three 
and  four  of  the  scale. 

The  diagram  appears  on  the  staff,  thus: 


$ 


SL 


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is?: 


4 

bes 


5     6 


3     3     4     5.4-78 


bes    c      d      e      f 


As  b-flat  (or  bes)  is  the  only  chromatic  sound  in 
this  key,  its  sign  is  placed  on  the  third  line  of  the  staff  as  in  the  follow- 
ing exercises. 

2-         — , 


f 


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NATIONAL  MUSIC   READER. 


77 


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GM* 


You  will  remember  that  on  Chart  29,  Ex.  4,  flat-seven  was  produced 
by  the  use  of  a  natural,  ( t) ).  In  this  key,  sharp-four,  is  produced  by 
means  of  a  natural,  as  in  the  following  example. 


I 


u=^u=i 


*~r^ 


* — » 


s- 


ea 


#4      5         5      3     4      5       6       7 


iP3= 


N         ,S 


N        N     » 


—H H FVt he ■       — ' z— - 1 n 


ifc=# 


f     >' 


y      y 


10. 


i^ 


J-J '  i  , j  J+J=f^ 


F=t 


* — *- 


11. 


EJM==F 


wm^mm 


UfWmr^^r 


r  f 


78 


THE   NEW   SECOND 


SOWING*  FLOWERS. 


m 


mmmm 


t 1 d # 


M^f 


r  f  f 


r  r 


1.  Lit  -  tie  seed,now  must  thou  go         To  thy  still,  cold  bed  be  -  low ; 

2.  Couldst  thou  know  what  'tis  I     do,     And  couldst  tell  thy  sor-rows,  too, 

J \ 1 


mmmrm$m 


*=t 


Do     as      thou     art      bid  -  den !     Now  the  earth  must  cov-er    thee, 
This  were  thy     com  -  plain- ing  :"  Ne'er  shall  I      the    sun    be -hold, 


pmm 


J — -4- 


t 


1 


f=F=r 


'•   r 

And   no    eye  shall  ev  -  er    see    Where  thou   li  -  est    hid    -    den. 
In  this  grave,  so    dark  and  cold !      Ah,    my  life     is     wan  -  ing ! 


3  But  take  courage,  little  seed ; 
Though  thou  liest  here,  indeed, 

Gentle  slumber  taking, 
Yet  thou  'It  soon  in  upper  air 
As  a  flower  bloom  so  fair, 

To  new  life  awaking  ! 

4  I  shall  one  day  lie  as  thou 
In  thy  dark  bed  liest  now, 

When  death  shall  befall  me ; 
But  in  glory  shall  I  rise 
To  the  realms  above  the  skies, 

When  the  Lord  doth  call  me. 


12. 

FIRMLY. 


COMMENCING    AFTER    THE    UP-BEAT. 


#5 


i=z 


-*— 


r 


j 


t^ 


t 


r  r 

A  -  rouse    ye,      a  -  rouse     ye,   And    wel  -  come  the  dawn  -  ing. 


NATIONAL   MUSIC    READER. 


79 


NEVER  SAY  FAIL. 


MODERATO. 


Glaser. 


£t4 


:¥=r: 


T^¥ 


1.  Press  on  ■ 

2.  With  eve 


i 


eye 


ward — 't  is    bet 
that    is        o    - 


fT## 


ter    Than    sit  - 
pen,      A    tongue 


ting       a    -    side, 
that's  not     dumb, 


I 


£f 


And  dream 
And    heart 


■  ing    and     sigh 
that  will      nev 


-  ing,  And      wait 

-  er,     To       sor 


ing    the      tide; 
row    sue  -  cumb, 


m 


Tr~r 


t- 


^ 


In      life's 
We'll  bat    - 


ear  -  nest    bat 
tie    and    con 


tie,  They      on 
quer,  Tho'     thou 


ly      pre  -  vail, 
sands  as    -    sail 


i 


&=± 


£ 


i 


fm 


i 


V 


t 


Who  dai    - 
How  strong 


ly    march  on   - 
and  how  might 


ward,  And    nev  - 
-  y,     Who    nev  - 


t       f 


T 
V 

er     say     fail, 
er      say      fail. 


3  Then  onward,  right  onward, 

And  press  on  your  way, 
Unheeding  the  envious 

Who  would  you  betray ; 
All  obstacles  vanish, 

All  enemies  quail, 
In  fear  of  their  wisdom 

Who  never  say  fail. 

4  In  life's  rosy  morning, 

In  manhood's  firm  pride, 
Let  this  be  the  motto 

Our  footsteps  to  guide  ; 
In  storm  and  in  sunshine, 

Whatever  assail, 
We  '11  onward  and  conquer, 

And  never  say  fail, 


80 


THE  NEW  SECOND 
HOW  LOVELY  ARE  THE  WOODS. 


H 


^m 


■E* 


i 


tS 


a* 


t    ir  r 


f=f 


1.  How  love  -  ly  are      the  woods !    The    ver-  dant,  ver-  dant  woods  ! 

2.  Oh,  how      I  love    the  woods  !    The    ver-  dant,  ver-  dant  woods  I 


Ifer^ 

=fc 

-f*  r 

— h~ 

— i — 

-V-4 

1 — T*~ 

=£ 

=*= 

=*: 

=fc 

0 

&~V 

* — * 

-*— 

£ 

-w+- 

-+— 

f 

* 
-* 
u 

Z 

k 

Where  sweetly  the  birds  are  all  sing -ing,  And  thanks  for  the  morning  are 
Where  light-ly  thebranch-es  are  twink-ling  With  drops  of  the  dew  that  are 


FfT?=F=F=rT=H=t 


ring  -  ing,  A  -  round  in    the  ver  -  dant  woods,    The    ver  -dant,  ver-  dant 
sprinkling  The  leaves  of    the  ver  -  dant  woods,    The    ver -dant,  ver-  dant 


mmmmmm 


±=Mz 


woods.      Tra  la    la      la    la    la 


V 
la    la 


n 


la     la  la  la, 


rs 


*ll 


V 
Tra    la. 


3  O  come  then  to  the  woods  ! 

The  verdant,  verdant  woods ! 
The  echo  that  dwells  by  the  mountain, 
Will  answer  your  voice  by  the  fountain 
That  springs  in  the  verdant  woods, 
The  verdant,  verdant  woods. 
Tra  la  la,  &c. 


4  How  lovely  are  the  woods ! 

The  verdant,  verdant  woods ! 
Where  sweetly  the  birds  are  all  singing. 
And  thanks  for  the  morning  are  ringing, 

Around  in  the  verdant  woods. 

The  verdant,  verdant  woods. 
Tra  la  la,  &c. 


FLAT-SEVEN   IN  THE   KEY   OF   F. 


13. 


■a 


m 


4 


to 


4 

bes 


13       5        8        8 
f        a       c        f         f 

The  above  will  be  recognized  to  be  the  same  as  Ex.  3,  page  42, 


NATIONAL   MUSIC    READER. 


81 


In  the  following  exercise,  and  in  u  The  Hunter's  Prize,"  the  flat- 
seven  occurs  in  the  lower  scale.     It  is  not  difficult  to  sing. 


14. 


n 


rW- 


** 


5       3     5     8    Vl 

Sol    Mi  Sol  Do    Se 

c        a      c      f     es 


6       5      4      4        3354       3 

La    Sol     Fa    Fa      Mi   Mi  Sol   Fa      Mi 

d        c     bes    bes       a      a      c    bes      a 


THE  HUNTER'S  PRIZE. 


G& 


^=^3 


&: 


>"**J         U>       V       V        *        V        \J 


\j         v         *         \j 

1.  A    hun  -  ter,    ear  -  ly      rang    -  ing     A  -  long  the     for  -  est  wild, 

2.  Fair,epieen-ly  Faith  come  fore   -  most ;  Next,Love  be  -  fore  him  passed, 


P 


t 


J 


m 


£=£ 


#, 


£±# 


U         1/         V         y        k  '  ~^~ 

Saw      o'er    the   green-sward  trip  -  ping,      trip 

With  Hope,    all  bright   and   smil  •  ing,       smil 


ping,  Three 
ing,    The 


I 


13 


£. 


-n 


i 


t     t 


T 


t 


/  w  v  •  *  r 

maid-ens    fair    and      mild,     Three  maid  -  ens    fair    and     .-nild. 
gay  -  est    and    the      last,        The     gay  -  est    and      the     last. 


And  said,  "  Now  choose  between  us, 

For  one  with  thee  will  stay : 
Choose  well,  or  thou  may'st  rue  it,  rue  it, 
|:  When  two  have  passed  away."  :(| 


4  He  said,  "  All  bright  and  lovely, 
Oh,  why  must  two  depart  ? 
Faith,  Hope,  Love,  stay  together,  together  I 
It:  Possess  and  share  my  heart !  "  :|| 


82 


THE   NEW   SECtWD 


*          t 

4  e/  ores 

3              «l 

a           c 

1  l»/orbes 

KEY    OF    B-FLAT. 
It  will  be  seen  by  the  diagram  that  the  new  chro< 

matic  sound  in  the  formation  of  the  scale  in  this  key, 
is  e-flat  (or,  in  singing,  es),  and  comes  on  the  fourth 
degree. 

The  diagram  appears  on  the  staif,  thus: 
1. 


e?< 


J?  or  bes 


i 


— ^rzzrz^?: 


1^=221 


'-^=ft 


\nsr   •*-  12     3     4     5 

12345678 
bes    c       d      es      f       g      a    bes   c      d     es      f 
2. 


mrm^rrf^^^m 


123432876567 


3. 


mm 


9 


-±^=H^m 


4. 


8855335       33558 
THE   CHINESE    GOLDEN  RULE. 


fefc 


i 


Ue4 


A 1- 


-* — g* 


r  r  r  r<  r 


f=rr 


Be    to      oth-ers     kind  and  true,     As  you'd  have  them  be     to    you; 


J    ||J    J 


«* 


j=+t^-j- 


1 


^T^rr 


f=r=r 


Nev  -  er    do    nor    say     to    men   That  which  you  M  not    take    a  -  gain. 


(First  time,  the  teacher;  second  time,  the  pupils.) 


&rrti 


T'a  za  fa  na  Ta  za  na  za  Te  ze  fe  ne  Te  Ta  za  fa  na  Ta  za  fa  na  Te  Te 
5  b. 


L.        &  R.        & 


U. 


D.        &  L.       &  R.        U. 


Ta-a-'a  na    Ta-a-a  na    Te-e-e  ne  Te       Ta-a-'a  na    Ta-a-a  na  Te      Te 


NATIONAL   MUSIC   READER. 


85 


THROUGH  THY  PROTECTING  CARE. 


i 


SLOWLY. 


N 


P"*"  ^  S  —  .Fine, 


1~* — *-^=tf=f=t=t=; 


^XTT 


£7 


..    (  Through  thy  pro  -  tect  -  ing    care       Kept      till    the      morn  •  ing,    > 
'  "I  Taught    to   draw  near    in    pray'r,    Heed      we     the      warn  -  ing :  } 
p.  c. — Ev  -    er  -  more  prais  -  ing    thee,      God        of     the      morn  -  ing. 

B.C. 


t^ 


j 


Make  bright  our    way    to  Thee ;   Glad  -  ly      our  souls  would    be 


2  God  of  our  sleeping  hours, 
Watch  o'er  us  waking, 
All  our  imperfect  powers 
In  thy  hands  taking. 

6. 


In  us  thy  work  fulfil ; 
Be  with  thy  children  still, 
Those  who  obey  thy  will 
Never  forsaking. 


U.  D.     L.     U.  D.      L.    U.     &  D.  L.  U.  D.    L. 

1h~h-  -rtr-sir~r-rhr-1l 

Te        Ta-a    Te       Ta  -  a    Te     fe      Ta        Ta      Te         Ta-a 


SWEET  RURAL  SCENE. 


Dr.  Young. 

ANDANTE. 


German. 


?%=* 


£ 


r^ 


s 


T* 


r 


u 


1.  Sweet    ru 

2.  In      pros 


wm 


u     i  ■      u    T     w 

-  ral     scene     Of  flocks     and     green !  At        care      less 

-  pect    wide,    The  bound  -  less     tide  !  Waves  cease      to 


m 


fe 


w 


f— Tt 


ease       my 
foam    and 


limbs    are  spread ;  All        nat 
winds    to     roar;  With   •  out 


ure 
a 


still,      But 
breeze,    The 


II 


F^~T 


yon  -  der 
cur  -  ling 


rill,     And    lis  -  t'ning    pines    nod    o'er      my    head. 
seas  Dance  on        in       meas    -  ure      to        the    shore. 


84 


THE    NEW    SECOND 


\h 


7. 

D.    &    & 


U.    &    &       D.    &    & 


U.  &    & 


hTTT-^tarr-r 


D.  &    &    U.  &  & 

f      1     * 


U     I       >  i  i       v  i  ■    i    i  v 

Ta-a  Te    Ta-a  Te    Tii-a  Te   Ta-a  Te   Ta  Ta  Te  Ta-a  Te   Ta-a-e    ^d-a  Td 


SHARP-ONE   AND   SHARP-SIX. 


^^gE^S 


8787  #6    7     2  #127     5     1234321 
Do  Si  Do   Si  Li  Si    Re  Di  Re  Si    Sol  Do  Re  Mi  Fa  Mi  Re  Do 
bes  a  bes    a  gis   a      c    b    c     a      f    bes   c    d     es   d     c    bes 


m 


PROVIDENCE. 


-j \J   '   1     -v- 


fS 


-a 


1.  He    who  made  the  stars  on  high    Rules  su-preme  o'er  earth  and  sky ; 

2.  He    who  marks  the  spar-row's  fall  Looks  with  ten  -  der  -  ness  on  all ; 


mm 


S3 


^HJ 


m 


Here    we    all    our  hom-age  bring,  And  grate-ful  prais  -  es    sing. 
Him    we  trust  our  souls  to  keep ;  His  mer  -  cy  can  -  not  sleep. 

3  Though  our  life  is  but  a  span, 
Endless  is  the  soul  of  man, 
May  we  all,  then,  look  above, 
And  trust  a  God  of  love. 


9. 


SHARP-FIVE. 


KS 


*=^ 


#2^3 


r 


£ 


4 
Fa 


T       2    3 
Do     Re  Mi 

bes      c     d 


6  p    6    4     3   5    8 
La  Si  La  Fa  Mi  Sol  Do 

g    lis  g    es     d    f   bes 


G  #5    6   4     3 

La  Si  La  Fa  Mi 

g   fis  g    es     d 


1 
Do 

bes 


NATIOHAL  MUSIC   READER. 
FIRST  DAYS  OP  SPRING. 


85 


From  the  French.  -J- 

ALLEGRETTO. 


J.  Greith. 


mm^£ 


p 


*— *- 


&* 


&* 


r=mf^^^ 


1.  The    fields  are  now  blooming  with      flow  -    ers  ;  How  charming  and 

2.  Each  leaf  -  let  and  bud,  green  and      ten    -    der,  Pro-claims  the  good 


,    mf 


r?rT 


love  -  ly    the      sight! 
hand    of    the       Lord; 


The       sun      and  the      soft        A  -  pril 
The      tune  -  ful  birds  prais    •  es      all 


i 


m 


TT~*  f  v  f 


show      -    ers     Bring  smil  -  ing  May's  chil  -  dren    to        light,      Bring 
ren      •      der       To     him    who  ere  -  ates     by      his       word,        To 


I 


l- 


w 


-i- 


T*  \       9     I 

smil    -  ing  May's   chil  -    dren     to 
him      who     ere  -  ates        by      his 


T~- T 

I- -if 

light, 
word. 


3  The  apple-tree  buds,  faintly  blushing, 
Perfume  the  clear  air  all  around ; 
The  long-prisoned  brook,  gladly  rushing, 
fl:  Leaps  onward  with  musical  sound.  :j| 


4  All  Nature  lifts  myriad  voices, 

That  sound  the  whole  forest  along ; 
The  bird  and  the  flower  rejoices, — 
II:  Come,  join  we  the  jubilant  throng  I  :|| 


86 


THE   NEW   SECOND 


TRAVELLING 

N  > 


U      U     "  w      v       t    ~$    7> 

der    is      the     mil  -  ler's  joy !  What  kind     of    mil  -  ler 
ter    we  have  learned  it ; — yes,     It    knows  no  rest     by 


N  9    N 


*=*: 


£=£ 


« 


m 


rr 


'S        V         V      V        \j        \j        \J        \j 
can   he     be,  Who  ne'er  hath  learn 'd  to  wan-der  free,   To    wan  -  der, 
night  or    day,  But  wan-ders  ev  -  er      on     its  way,  Does  wan  -  der 


wan-der  free?      Tra    la     la,       Tra    la     la,      Tra     la    la       la 
on      its    way.      Tra    la     la,  etc. 


PN 


% 


4S-V- 


II 


la 


la,      Tra    la     la      Tra    la     la,      Tra     la     la     la      la. 


3  We  see  it  in  the  mill-wheels,  too  : 
They  ne'er  repose,  and  ne'er  delay, 
They  weary  not  the  live-long  day, 

The  mill-wheels  all  the  day.     Tra  la  la,  etc. 

4  The  stones,  too,  heavy  though  they  be, 
Round  in  the  giddy  circle  dance, 
E'en  fain  more  quickly  would  advance, 

The  stones,  too,  would  advance.     Tra  la  1&,  etc. 


5  To  wander,  then,  is  my  delight : 
Oh,  master,  help  me  on  my  way, 
Let  me  in  peace  depart  today, 
To  wander,  wander  free.     Tra  la  la,  etc. 


NATIONAL   MUSIC    READER. 


87 


I 


LO!  THE  BLITHESOME  LARK. 

v        N        K        N        I  I       »     .         v        I  fc 


**J.  J>  r  I  £AJ 


S 


S 


-N- 


&m 


4- 


1.  Lo !  the  blithesome  lark  is  soar  -  ing  Far   a  -  loft    in  morning  skies ; 

2.  Ev  -  *ry  mountain  al  -  tar  blaz  -  es ;    In-cense  sweet  to  heav'n  as-cends ; 


j,  j", }  »  J  t-b4 


m 


s  .   w- 


P^£ 


w=^ 


r 


v  v    * 


if     * 


Songs  of  grateful  gladness  pouring,Higher,high  -  er,  see  him  rise  !  Thousand 
Meadows  waft  their  silent  praises ;  Ev-'ry  flow'r  a  -  dor-ing  bends.  Man,  a 


S=i 


k£=t=h& 


^ 


P 


^TfTf 


^  CfyJ^ 


y  >  "  v ;  .LT- 

warb-lers  now  are   spring-ing,   Up    to  meet  the  welcome    morn  ; 
wake  from  heav-y    slum  -  bers ;  Morning  breaks  serene  -  ly    bright ; 


=*= 


^AtuLAJ 


J 


M 


fefc 


£=* 


i 


Sky  and  grove  with  joy  are  ring  -  ing ;  Hark  the   wild,  en-tranc-ing  horn. 
Songs  of  praise,in  tune-ful  num-bers,  Raise  to   Him  who  rules  the  night. 


THE  SHOWER. 


RATHER   SLOW. 


JT^-J^ 


B 


1.  See  I    the      rain      is      fall      -      ing        On     the  mountain's  side ; 

2.  See !    the      cool  -  ing    show      •    er        Comes  at    God's  com-mand, 


I 


^ 


^ 


vTT=*m 


r   z  r 

See    the  clouds  be  -  stow    -  ing 
Bright-ens    ev   -  'ry    flow    -    er, 


r 


Bless  -  ings  far     and    wide  I 
Cools    the   heat  -  ed      land. 


ss 


THE   NEW   SECOND 


8  «  Pores 

9           a 

©          ^ 

5  b/orbes 

4  aroraes 

3^   ' 

1  ePor  es 

J> 


or  be8 


KEY    OF     E-FLAT. 

The   pupils   will   observe   that   the   new   chromatic 
sound  used  in  the  formation  of  this  key  is  a-flat  (or, 
in  singing,  aes). 
This  diagram  appears  upon  the  staff,  thus: 
1. 

is. 


\K7 


fe 


:\&zz& 


ffi 


o 


5      6 
bes     c 


2 
! 


<\s 


3      4      5 
g     aes     bes 


The  following  exercise  in  three-four  time,  including 
the  dotted   quarter-note  followed   by  an  eighth  note, 
as   in  the  second  measure,    is  repeated  here,  because 
it  is  one  of  the  most  difficult  forms  of  measure  to  be 
met  with,  that  appears  so  easy.     The  universal  ten- 
dency is  to  sing  the  third  note  too  soon. 
2. 

D.         L.  U.         D.    L.    &        U.        I).        L.  U.        D.    L.    U. 


Iff 


Ir:  c  p 


i  i 


rtr-m 


Ta      Ta      Te     Ta-a   fa    Te     Ta     Ta     Te     Ta-a  Te 


3  .         SLOW  AND  STEAD'S 

n    i-i 

> 

t        J        | 

V    i  V    Q 

1         k.         1     i 

JLh  i  4 

IS    1 

J 

h                     1 

|      1 

m     m     m 

rm"  vjl. 

! 

J       -       * 

J       J              J 

S 

"))     *■■**■  * 

m      * 

J    4 

#  '    *    m        *     J 

%J              • 

'  • 

#               *      # 

E33 


fc- *- 


«3StQ 


zzt 


-f-«    i 


4. 

D. 


D.      & 


U. 


~£     J     P     PIT 


It  &  c  c  I  r  g  r  II 


p      i       i    1/        '•       '•       '• 
Ta      fa      Ta       fa       T'a-a-'a  n'a   Ta       Ta     fa     Ta     fa       Ta-'a-a  na   Ta 


c  c  '  c  c  b  '     i/   *  *  v  i  z  \ 


ga 


NATIONAL   MUSIC   READER. 


THE  BELL. 


mm 


v     v     &     D 

1.  Bell,  thy    tone    is 

2.  Bell,  thy    tone    is 


u3    '        "     v     v 

cheer-ful,  When   the    bri  - 
peace-ful,  When    it      bids 


tiffp T~~=S= :=p==r=  -q >-  — * — -N p p-    I .  *    • 

^       y     '     5 £^  i  ^     i>     y     ^       r 


dal     par  -    ty 
us     gath  -  er 


To      the  church  moves  by ; 
For     the     eve 


ning  pray'r; 


Bell,    thy    tone 
Bell,    thy    tone 


is      ho    -    ly, 
is    mourn-ful, 


i 


^ 


k 


V        b        r        *         I  I  p        '        V        J 

When    on    Sab  -  bath  morn  -  ing     Fields  de  -  sert  -  ed        lie. 
Toll  -  ing    for      the     lov'd   ones     Who   de  -  part  -  ed      are. 


Say,  how  canst  thou  mourn  so  ? 
How  canst  thou  rejoice,  too, 

Lifeless  as  thou  art  ? 
All  our  joys  and  sorrows 
Graciously  thou  sharest, 

Speaking  to  the  heart ! 


4  God  has  wondrous  power, 
That  we  understand  not, 

Given  thee,  sweet  bell ! 
When  the  heart  is  failing, 
Thou  dost  give  it  comfort, 

Soothing  like  a  spell. 


6. 


SHARP-FOUR   IN   THE   KEY   OF   E-FLAT. 


S^^± 


** 


58       76       5     #4      5        5345       678 
bes     es      d      c      bes      a     bes     bes    g     aes     bes      c      d     es 


7. 


GERMAN  CHORAL  IN  THE  KEY  OF  E-FLAT. 


^m^=sUm^^^m 


m 


J=^ffiTJ 


BE 


m 


90 


THE   NEW   SECOND 


I 


M 


SHARP-FOUR   IN   THE   KEY   OF   E. 

,9 


m 


t^m 


* — 0 


^=^L 


^ 


V 


tE£E± 


5      8     76       5    #4     5       5      34      5       678 
b      e    dis     cis     b     ais     b       b      gis     a       b      cis    dis    e 


M 


m 


THE   PRECEDING   CHORAL   IN   THE   KEY   OF   E. 


i 


p§^ 


# 


£ 


m 


fc+uU-J:^; 


r- 


Pt 


^^1 


-#— J- 


THE   FOUNTAIN. 


m 


mmu^^^pm 


»    i     i 

1.  Bubbling  Spring,so  bright  and  clear,  Pleas-ant    is    thy   voice  to  hear ; 

2.  Oft      at  noon-day's  sul  -  try  heat,  We  have  sought  thy  cool  re  -  treat ; 


$m 


mm 


&+ 


n 


■A 1— 


rp? 


f-n^titr 


Lis  -  ten    to     the  song  we    raise,    For    we  sing  it      to      thy  praise. 
And  be -side  the    sha  -  dy    pool  Sipp'd  the  wa-ter  clear  and  cool. 

3  On  thy  margin's  grassy  mound 
Are  the  earliest  violets  found ; 

And  our  wreath-crown'd  heads  we  view, 
Pictured  in  thy  mirror  true. 

4  Thou  dost  never  idly  stay 
Ling'ring  on  thy  chosen  way ; 
All,  like  thee,  are  onward  driven, 
Nought  is  firmly  fix'd  but  heaven. 


NATIONAL   MUSIC    READER. 


91 


10, 


&      D.  A  &  U.  & 


&       D.  «fc  &  IT.       &       &         D.  &  &  U.      &       &         T).&_&\J. 

[I. "g  1  r •  g  g  g If  c  g  glr  g  g  g I r •  r 

Tc    Ta-a-e-a     Ta   Tc     Ta-a-e-a     Ta   Te     Ta-a-c-'a     Ta    Te    Ta-a-e-aa 


N K 


m^t^^, 


-n — ^ — k 


n 


*      L> 


Z  i~i 


THE  WILD  BIRD'S  SONG. 


GENTLY,   SLOWLY. 


$mmmm 


C.  M.  Von  Weber. 


±~ ± 


1 


**r=t 


^ 


1.  I 

2.  I 


ride 
sing 


up 
I 


on  .     .       the  green      tree 
sing    .        of     my       Mak 


tops 
er's 


high  . 
love,  . 


.  When  parch 'd  is  the      earth      and  the      brook   ••  lets  are 
.   The     wan   -  der-  er       stops      near  my      shel    -    ter  -  ing 


BES 


PPPP 


f±=t 


r=£ 


dry; 

I 

sing,    . 

.      I 

sing 

in 

my 

cov 

ert 

grove ; 

He 

hears  . 

.     the 

song 

in 

the 

qui 

et 

k 


a 


; 


cool     And  lave  .     .    my    breast      in    the     calm    shad-y    pool, 
air,     And  list  -  ens   and    smiles,    and  for  -  gets        all  his  care. 

3  At  night  to  my  sheltering  pine  I  fly, 
And  sleep  till  the  day-dawn  gilds  the  sky ; 
Then  loud  I  sing  from  a  swelling  breast, 
In  praise  of  the  God  who  protects  my  nest, 


THE   NEW   SECOND 


THE  GOOD  NEIGHBOR. 
? 


Old  German. 


w^mmm 


G=Tf 


1.  Dear    neigh-bor,     pray      lend    me  your     Ian  -  tern       to  -  night; 

2.  Yes,     neigh-bor,     I  '11       lend    you  my       Ian  -  tern       to  -  night; 


1 


i=ttttvt 

dark,   and     the    stars     give      no    light; 
dark,   and    the    moon    gives    no    light; 


The      sky     is 
It     storms,   it 


ifcfc 


w-Q-w-m 


£3 


35 


mi 


My    shep  -  herd      has        lost  my    best  lambs    by        the        way, 
And    tho'      it  be         brok-en,      no    fault      will        I  find, 


^^^^m^^^ 


And  I    must    go         with  him     and      find     where  they 

For        fast    it       is  rain  -  ing,     and     cold      is        the 

3  Good  neighbor,  should  trouble  your  path  e'er  betide, 
Then  pray  call  upon  me,  and  be  not  afraid ; 
The  few  transient  sorrows  that  press  us  to-day, 
By  helping  each  other,  will  soon  pass  away. 


stray, 
wind! 


WILD-WOOD  FLOWERS. 


Dr.  Lowell  Mason. 


1.  Flow  -  ers, wild-wood  flow-ers,    In  a  shel  -  ter'd  dell  they  grew ; 


% 


$ 


Efc 


■1 N- 


Flow  -  ers,wild-wood  flow  -  ers,  In    a   shel-ter'd    dell    they     grew ; 


NATIONAL  MUSIC   READER. 


93 


hur  -  ried     a  -  long,  and    I    chanc'd    to    spy     This  small    star- 


I 


iifcj 


^=^ 


P 


1 


ffTT^r^T^ 


r-rc 


f    y       i        *     i  I  — U       1 

flow'r  with  its      sil  -  v'ry  eye ;  Then  this  blue  dai  -  sy    peep'd  up    its 


i 


ft — H=r 


4 


1 


fefefe 


rf^^^T^ 


head, 


"?      F 


Sweet  -    ly  this    pur  -  pie        or  -  chis        spread.    We 


fr      is        N      j^j 


x~i  t  u 


h 


p 


gath-er'd  them      all        for        you,  We     gath-er'd  them  all    for 


i#^M^? 


n 


m 


err 


I       I 

you;     All      these  wild  -wood       flow    -  ers,       Sweet      wild  -  wood 


I 


an 


^m 


& 


p^ 


1 


rt 


S: 


r~r 


wt 


flowr's,   All  these  wild-wood  flow  -  ers,   Sweet     wild-wood    flow'rs. 

2  fl:  Flowers,  lovely  flowers, 

In  the  garden  we  may  see.  :\ 
The  rose  is  there  with  her  ruby  lip, 

With  pinks, —  the  honey  we  love  to  sip, 
Tulips,  gay  as  a  butterfly's  wing, 
Marigolds  rich  as  the  crown  of  a  king, 
|| :  But  none  so  fair  to  me  :|| 
4s  these  wild- wood  flowers,  etc. 


94 


THE   NEW   SECOND 
KEY  OF   A-FLAT. 


6 

f 

5 

el?  or  es 

4 

dbor 

des 

3 

c 

2 

l>t?or 

bss 

1 

a/oi 

•aes 

1. 


-J?27-fe 


^^^&m 


^.\nsr  •*■*-  123456 

12345      678 
aes  bes     c      des    es       f       g     aes   l>es     c     des    es      f 


pm^¥3mmwpp\ 


eK. 


4  gorj 

3 


«  Wor 


»bc 


4. 


6. 


Dr.  Mainzer 

i   j 


r 

R. 


^P»P*« 


PW 


<    j    j  i  fe 


I 


i 


S3 


D.         U.     &      &         D. 


U.     &    &  D.     U. 


4r-c±H-c±rc±rhrHl 

Ta      Ta  ra  la       Ta      Ta  ra  la       Ta  ra  la     Ta  ra  la       Ta     Ta 


lb. 


mt±=i±h3^mm 


UJ  r 


m 


NATIONAL  MUSIC   READER. 


95 


[  The  entire  class  will  carefully  sing  the  following  exercise.] 

8.  PREPARATORY   TO   "ARRIVAL   OF   SPRING.  w 

SLOWLY.  O 


tkF 


s 


m 


^ 


* *-*? 

ARRIVAL  OP  SPRING. 

I 


^ 


1.  The  Spring,the  mer  -  ry   Spring  is  come ;  Who  would  her  beauties  see, 

2.  Con-cealed  a  -  mid  the      for  -  est  deep  All  Win-ter  hath  she  lain; 


ifer 


W##gffeM 


r 


E^=f 


rurrr 


Oh,  let  him  quick-ly     forth  to  roamyThe  mead-ow-now'rs  to    see  1 
A  bird  hath  roused  her  from  her  sleep, And  now  she's  here  a  -  gain. 

3  The  Spring  returns  again  to  cheer 

With  joy  and  merry  song ; 
Where'er  her  beauteous  charms  appear, 
Delights  around  her  throng. 

4  Then  forth  into  the  meadows  green, 

And  let  us  freely  roam ; 
When  first  the  coming  Spring  is  seen, 
Oh,  who  would  stay  at  home  ? 


9. 


$^ 


i 


b  U      * 


i 


s 

V 


sdfefey 


§ 


£t 


m 


96 


THE  HEW  SECOND 


SWEET    SPRING. 
&         D.       A       U.        &  D.         U.       &         &        D.  U. 


D.       U. 


C-trh-*- 


fa      Ta    fa      Ta     fa      Ta      Ta     ra      la      Ta       Ta      fa      Ta     Ta 

s     ! 


ft* 


£ 


£=fflS=i 


F     ZlSKA. 


s 


B3ES 


? 


^-rrj 


1.  Sweet  Spring    is        re  -  turn    -  ing ;  She  breathes  on  the    plain, 

2.  Full      glad  -    ly        I      greet    thee,  Thou  lov     •    li  -  est    guest ! 


fe* 


B 


i 


n 


-j 


t# 


'  tr 


r  r    t  r  r 

And    mead  -  ows     are      bloom  -  ing    In    beau  -  ty        a  -  gain. 
Ah,      long    have    we       wait   -  ed      By    thee      to       be    blest; 


a^feg 


&£ 


m        v       '  - —        y 

Now  fair        is        the    flow    •  er        And  green      is        the     grove, 
Stern  Win    -  ter      threw  o'er       us        His  heav    -  y,       cold    chain ; 


m 


3 


fc£ 


t£ 


^tJ 


m 


r  r  j  r 

And      soft        is      the      show  -  er    That  falls    from     a  -  bove. 
We       love      to       be      breath  -  ing      In      free  -  dom     a  -  gain. 


3  And  then,  O  thou  kind  one, 

Thou  earnest  so  mild, 
And  mountain  and  meadow 

And  rivulet  smiled ; 
The  voice  of  thy  music 

Was  heard  in  the  grove ; 
The  balm  of  thy  breezes 

Invited  to  rove. 


4  Now  welcome,  thou  loved  one, 

Again  and  again, 
And  bring  us  full  many 

Bright  days  in  thy  train ; 
And  bid  the  soft  Summer 

Not  linger  so  long, 
And  bid  the  soft  Summer 

Not  linger  so  long. 


NATIONAL   MUSIC    READER. 


97 


I 


fe^= 


ARISE,   ARISE. 


Dr.  J.  Mainzek. 


t=H 


B 


-#-i 


r~r 


rr~r 


1.  Rise,   rise,  my  boy !  yon   splen-did    ray,  Fore 

2.  Rise,   rise,  my  boy  1  the  wood-man's  gone,   To 

3.  Rise,   rise,  my  boy!   the    bus  -  y    bee   Flies 

4.  Rise,   rise,  my  boy  1   nor    Ion  -  ger  keep   Thy     sen 


r 

tells      a    long  and 
range  the  wood-land 
round  and  round  the 
ses  locked  in 


mm 


mm 


—I 

day; 
long; 
tree ; 
sleep, 


r — t 


love  - ly 

wilds    a  • 

li  -   lac 

sloth-ful 


The  world  's   a  -  wake, 
And    o'er      the  hill 
The     lark     and  thrushj 
O      yield     not  thus 


'?- 


a 


r  r 

and      all      the  wise    Im  - 
and  mountain's  height  He 
all     birds,     a-wake  And 
to    slum  -ber's  pow'r  Nor 

1 — M-S- 


m 


^ 


r~t 


l       L/  f    I 

a  -  rise ;  The  world's  awake,  and  all  the  wise  Im- 


prove  this  hour ;  a  -  rise, 

trudg  -  es  on  with  heart  so  light;  And  o'er  the  hill  and  mountain's  height  He 

flut  -  ter  o'er  the  mountain-lake;  The  lark  and  thrush,all  birds,  awake  And 

waste  the  day's  most  precious  hour,  O  yield  not  thus  to  slumber's  pow'r,Nor 


te 


W^l 


ipi 


m 


m 


f=F 


9 


^ 


prove  this  hour; a    -  rise,     a  -  rise,     a  -  rise,      a  - 
trudg-  es    on  with     heart  so  light,with  heart  so 
flut- ter   o'er  the     mountain  lake,  the   moun-tain 
waste  the  day's  most  pre-cious  hour,most  pre-cious 


rise,    a  -  rise,    a  - 
light,with  heart,with 
lake,  the  lake,  the 
hour,  the  day's  most 


t^ 


^ 


j=j 


^m 


^^ 


r 


rise,      a  -  rise,     a  -  rise,  a      -  rise, 

heart    so    light,with  heart,  with  heart 

moun  -  tain  lake,  the  lake,  the  moun 

pre  -  cious  hour,  the  day's  most  pre 


a 

rise. 

so 

light. 

tain 

lake. 

cious 

hour. 

98 


From  the  French.-\- 

ADAQIO. 


fn^r^m 


THE    NEW   SECOND 
SWISS  HERDSMAN'S  SONG. 

I 


1=f4 


f=n—^=± 


t? 


1.     Now  breaks    the     morn :      Ye      herds  -  men,      wak  -  en ! 


V 


gfBfe^RM 


-a — -'- 


u 


rr- r^r 


Sweet  -  ly      the   horn,     Re-sounds   a   -  far.     Ho   -  la,      Ho  -  la, 


|^N4l£rN 


dim. 


1=£ 


fe 


=^ 


£* 


herds  -  men,      wak      -      en !  Morn  -  ing        has 


r^P^ 


pp 


i^t  i  j<j^ 


vivace. p  ^ 


p 1        I  — ¥    i        ♦      r-    r^-<&-  v     y     ¥ 


r-f 


v  >   r 

Herds  -  men,   wak    •    en,    Morn-ing    has    come ! 


¥       ¥       ¥ 
See  the  herds 


&=$ 


£ 


m^. 


t 


I  p        V      V       V        I  p   ■     1/       V       1/       i  p 

wind  -  ing,    pas  -  tur  -  age    find    ■    ing ;  O'er    the    hills  go    -    ing, 


IS 


s 


decres. 


; 


£ 


m 


'r^^m 


L         ¥         ¥         ¥ 
List     to    their    low  -  ing.  White,black,and    red    ones,  Sleek  and  well- 


I 


fe£ 


NATIONAL   MUSIC    READER. 
K         .  ,  V 


99 


; 


m 


mH-t-t^ 


fed      ones,  Spot  -  ted  and     stri  -  ped,  Come,  by    our     cry        led. 


ADAGIO. 


4 


|©g 


.— ^  v  ,  dim. 


0 


Herds  -  men,     wak         en,     Morn  -  ing      has  come ! 

I. -N 


s 


fe£ 


is 


a^a 


I 


r 


Herds  -  men,       wak 

?™*-f  s k       r>       I 


Tr 


fr 


en,     Morn  -  ing       has      come. 


I 


sa 


N   ' 


& 


i 


^r^M 


*=e 


Bells,    tink-ling      gai 


1/  */ 

ly,     Glad  -  den 


us 


6^1 


dai 
*>  dim. 


iy; 


^ 


S 


i 


E> 


V         V     ...     I  *  ¥  V  V 

Peace  -  ful      our      days        go,   'Neath  the    sun's    rays.      Oh ! 


/I 


^=#==4 


^ 


dim. 


m 


m 


rr 


Herds  -  men,     wak      -    en,    Morn  -  ing      has 
PP  I. ^  K        ,        K 


come ! 


gg^£fc££±=H^^ 


f   r  ■-'    r  r 


Herds    -  men,         wak    -    en,       Morn  -  ing      has    come  I 


100 


THE   NEW  SECOND 


On  page  76,  attention  has  been  called  to  the  fact  that,  starting  from 
the  key  of  C,  every  time  a  new  sharp  was  added  to  form  the  scales  in 
the  keys  of  G,  D,  A,  and  E,  the  new  key  was  based  on  the  fifth  of  the 
scale  preceding  it,  and  that  the  keys  in  which  flats  were  used  were 
based  on  the  fourth  of  the  scale  preceding.  The  following  exercises 
are  in  illustration  of  the  above. 


GOING   FROM   ONE   KEY  TO   ANOTHER. —  BY   SHARPS. 


$&mF&=m=ym^  r^h^i 


Do. 


BY   PLATS. 

F. 


%t^-p^=^¥nwri  fl !  j  i  ^^ 


| 


■Bh 


o^m 


Fa,     one  flat.       Do. 
Ej?. 


Fa,      two  flats. 


¥ 


S33 


3 


*— * 


* — #- 


*— « 


& e 0 


Do. 


Fa,  three  flats,         Do. 


tm=& 


m 


Fa,  four  flats, 


^^m 


Do. 


PART  III- MISCELLANEOUS  PIECES. 


rr &r~m 


GRANDMOTHER'S  ADVICE. 

D.     &         U.       &     |     D.  &  U.       & 

-0 0 


D. 


U.    & 


mrrr 

a  na  Ta   fa      Ta      Ta  fa 


1 


b  y 


Ta-a-ilna  Ta    fa      Ta-a-anaTa   fa 


Ta  za  fa 


i^row  the  French.  -f- 

SLOWLY  AND   QDIETLT. 


|i 


£ 


p-fTT 


-t 


t=£ 


*=* 


T    w 


*    U 


V     V      V      V      \> 


1.  Maid- ens,  if   you'd  have    me  praise  you,   Do  yourworkwithnim-ble 

2.  Dal  -   ly  not,  nor     waste  the  mo-ments,  Steps  grow  man-y,  feet  grow 


I 


*— *" 


srr-r 


fin 

-    gers; 

Deft    •    ly     ply    your 

Ion 

•    ger; 

Stock  -  -lings  more    and 

glis  -  t'ning  nee  -  die ; 
more      are    need  -  ed ; 


I 


f— t 


9     9      9      9    'V       » 

Time  for      i  -  dlers   nev  -  er       lin     -    gers. 
Nim-bly    knit  them  strong  and  strong   •  er. 


3  Seek  a  method  in  your  life-work, 
Ev'ry  fit  occasion  seizing ; 
Count  each  word  and  step,  like  knitting, 
Then  shall  speech  and  work  be  pleasing. 


4  Mend  the  rents  while  they  are  little, 
Ere  they  grow  beyond  your  power : 
Cure  your  faults  of  tongue  and  temper, 
Ere  they  pass  youth's  tender  hour. 


102 


THE   NEW   SECOND 


LOTiE  :OF  TRUTH. 


I  '  *   f f=p — * *— # — * 1 

I  L    '    UJ       b— L^d 5=I==r 


fi 


1.  My   days      of     youth,     tho'      not     from     fol    -    ly      free,  I 

2.  My  foot  -  steps    lead,       O      Truth,  and  mould  my     will,  In 


rt 


I 


£f-f~ Tj 


^ 


m 


*=? 


prize      the     truth, 
word     and     deed 


the      more      the      world     I       see; 
my       du    -    ty        to  ful  -   fil; 


I'll 
Dis- 


iw 


keep     the  straight  and     nar  -  row  path,    And,  lead     wher  -  e'er      it 
hon  -  est     acts,      and    sel    -  fish  aims      To   truth      can     ne'er     be 


I 


fa 


m 


m 


-0-- 


f* 


0 — ' — w — 0 — a 


^ 


?  -0-    T      -0- 


may,     The  voice      of      truth      I  '11      fol  -  low      and      o  -    bey. 
long;      No    deed      of       mine,     shall      be         a        deed     of     wrong. 


3  The  strength  of  youth,  we  soon  see  it  decay, 
But  strong  is  truth,  and  stronger  ev'ry  day, 
Though  falsehood  seem  a  mighty  pow'r 
Which  we  in  vain  assail, 
The  power  of  truth  will  in  the  end  prevail. 


4  My  days  of  youth,  tho'  not  from  folly  free, 
I  prize  the  truth,  the  more  the  world  I  see ; 
I  '11  keep  the  straight  and  narrow  path, 
And,  lead  where'er  it  may, 
The  voice  of  truth  T  '11  follow  and  obey. 


NATIONAL  MUSIC   READER. 


COLD  THE  BLAST  MAY  BLOW. 


103 


German. 


*=t 


S 


^ 


1,  Cold    the      blast  may  blow,  Heap  -  ing     high      the 

1.  Cold    the    blast    may    blow, 

2.  Bo  -  soms     firm    and    bold  Fear     not      wind    nor 

2.  Bo  -  soms    firm    and     bold 

-../n 


a 


^^ 


snow;  Winds  may  loud  -  ly    roar,    .        .        .        .may 

Heap -ing   high     the       snow.  Winds  may    loud   -  ly     roar; 

cold, 


Fear    not     ice      nor    snow, 


not 


Fear    not  wind     nor        cold, 

mf  , 


Fear    not      ice     nor    snow; 


iS 


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i 


i- 


Jt=3t 


W^^TTB 


trrra' 


P 

loud  -  ly 


roar ; 
snow: 


Trees,all  brown  and  bare, 
Fierce-ly    thro'  the    gale 


Sad  may  wave    in 
Drift  the  snow  and 


fft*hrW&mg 


rtrvt^r 


-I         '       v 

air,        Deck'd  with  leaves  no     more,     Deck'd  with  leaves  no    more, 
hail ;      Hearts  may  warm  -  ly    glow,      Hearts  may  warm-ly     glow. 

3  When  in  school  we  meet, 
Looks  of  welcome  greet, 

Sent  || :  from  smiling  eyes  ;  :|| 
When  our  teachers  dear 
Give  us  words  of  cheer, 

|| :  What  are  wintry  skies  I  :|| 

4  Come,  then,  rain  or  hail, — 
Come,  then,  storm  or  gale, — 

Glad  || :  to  school  we  '11  go ;  :|j 
Bosoms  firm  and  bold 
Shrink  not  from  the  cold, — 

f :  Fear  not  ice  nor  snow.  :|| 


104 


THE   NEW   SECOND 


MORNING    DEVOTION. 


P 


p 


i=*. 


I 


e 


i 


r-tr 


iff  g-r  r^rt  r   i, 

1.  How  sweet  from  gloom-y       dark    -    ness    The  blush  -  ing  morn     a  - 

2.  While   in      the    ear  -  ly       sun     -    shine   The    sil  -    ver  dew  -  drops 

I .  N  P  cres<  »        K 


=t*     ft 


¥ 


If 

wakes!  How  rich      the     ear    -   ly        mu 

gleam,  And    ev     -  'ry     thing      re    -   joic 

res.  K  /    r^         k  L s  mf  lS 


sic 
es 


V 

That 
In 


*3=&4 


m 


m 


% 


r~t~~£Jyr 


i 


t — z~a 


1 


P 

¥ 

from    the      for    -    est 
morn  -ing's    gold  -  en 

,P 


¥ 

breaks  I 
beam ; 


Sure    na    - 
With  warm 


so 


ture,      all 
de    -    vo  -    tion 


±e£ 


^^rtrfm 


Which  floats    in 
To     God    thy 


love  -    ly,      Its     Mak  -  er's      good  -  ness     feels, 
glow  -  ing,      A  -  wake,    my      soul,    and       pay 


i 


a 


t- 


m 


v"j^  r- 


T^Z 


all       the      breez    -    es,      And     ev    •   'ry      bless  - 
grate  -  ful       wor    -    ship,  Who  made    the      love  - 

3  My  Father,  give  me  power 

To  consecrate  to  thee 
My  life,  and  every  blessing 

That  is  conferred  on  me ; 
Let  wisdom  guide  my  conduct, 

Let  all  my  days  be  peace ; 
And  when  my  life  is  ended, 

Receive  mv  soul  to  bliss. 


ing      seals, 
ly        day. 


NATIONAL   MUSIC    HEADER.  105 

WHEN  THE  DAY  WITH  ROSY  LIGHT. 


1.  When  the    day   with     ro  -  sy  light,     In     the  morn -ing  glad  ap- pears, 

2.  Oh  !   't  is    sweet  at       ear  -  ly    day    Then  to  climb  the  moun-tain-side, 


fmmwmwm 


p     v  »  P  V  z  z  z 

And    the    dusk-y    shades  of   night    Melt    a  -  way    in    dew-y     tears, 
Where  the    mer-ry     song- ster's  lay    Sweet -ly    ech  oes  -  far  and  wide  : 


^^ 


Up  the      sim-ny    hills  I       roam,     Bid  good-mor-row    to     the    flow'rs, 
Noon  may  have  its    sun  -  ny     glare ;    Eve,  its      twi-light  and  its      dew ; 


I 


?=E 


i=t 


4z3±t 


e=at: 


I 


£ 


-&- 


m*} 


5E^E? 


i 


£3    U     ESI    P     l>     **       p    v     i/     v       v 

"VVak  -  en,      in      their  high-land  home,  The  minstrels  of        the    bow'rs. 
Night,   its     soft     and    cool- ing   air; — But  give  me   morn -ing      blue. 


i 


m 


I 


■I rV 


U     0     [t     0     p     '     v     v      v    v     v     v U     ¥     V    $ 

Tra  la   la   la    la  la   la  la,  Tra  la  la  la   la   la   la  la, 


i 


jv    n 


£ 


£ 


•  ,    0     V      53     U      * p      U        ^     ^       y       y 
Tra     la        la      la        la     la      la      la    Tra     la      la       la      la. 


106 


THE   NEW   SECOND 


THE  FARMER'S  BOY. 


BRISKLY,   WITH   STEADINESS. 


±sl 


1 


m^m 


f-Y^r 


•^: 


r 


1.  The  Sun  had  sunk  be  -  hind  the  hills     A  -  cross  yon  drear  -  y    moor, 

2.  My    f a-ther  's  dead,my  moth  -  er  's  left  With  four  poor  child-ren  small, 


mmmmmmmm 


r  f  r 


When  wet  and  cold  there  came    a      boy,    Up    to      the      far-mer's  door : 
And  what  is  worse  for      moth  -  er      still,  I  'm    el  -  dest      of   them  all. 


I 


m$Mmm 


?=& 


v — v 

Can  you    tell       me,   said   he,        If  an 

But,  tho'  young,      I      will  work      As        hard 


§ 


3 


y    there    be    Who  would 
as        I      can,      If      I 

h   \,h   . 


rr^ — i 


T 


*^ 


T? 


like    to     give    em  -  ploy, 
once  can    get    em  -  ploy, 


rr 


V 


For    to      plough  and  to  sow,     For     to 
For    to      plough,  etc. 


es=fc 


sn 


4^t 


m 


r=F=Ff=t 


reap     and  to  mow,     For    to      be        a        far  -  mer's      boy, 


i 


fe^ 


i 


f^PS 


r 


r 


For      to 


be 


far   •   mer's    boy. 


3  But  if  no  boy  you  chance  to  want,        And  at  break  of  the  day  I'll  trudge 
One  favor  I  would  ask, —  far  away, 

To  shelter  me  till  dawn  of  day,  And  will  elsewhere  seek  employ. 

From  the  cold  and  wintry  blast,  For  to  plough,  etc. 

[Concluding  stanzas  on  opposite  page."] 


NATIONAL  MUSIC   READER. 


107 


IN  THE   COTTAGE  WHERE  WE    DWELL. 


^^^ 


v  b 


1.  In    the  cottage  where  we  dwell,  We    have  led     a      peace -ful    life; 

2.  Blest  with  life  and  blest  with  health,We    de  -  sire  no     rich  -  er  home ; 

3.  All  the  sweets  of  wealth  will  pall:  Hon  -  est  hearts  and     lib  -  er  -   ty, 


r,      w    y    v     *      *      i        v 


£=a 


:S 


Ours  are  joys  which  none  can  tell,  Who    en  -gage    in       an  x -ious  strife; 

Nor    to    be  the  slaves  of  wealth,  Do      we       ev  -  er      wish     to    roam ; 

In     our  cot  are  with  them  all,  Home    is     home  where  e'er    it       be. 


J>      h      fc- 


£ 


*=J=f 


v  'y        ■  w  -      ,    v         i  *         V         v 

(1-3).  Tho*  but    low  -  ly        be  our  state    Yet  con  -  ten-ted    with  our      lot 


H^fi 


II 


We      en  -  vy  not  the  proud  and  great,Happy    in      our     humble  lot. 


[Concluded  from 

4  The  Farmer's  wife  cries,  Try  the  lad, 
Let  him  no  further  seek, 
Oh,  do,  papa !  the  daughter  cries, 

While  tears  run  down  her  cheek ; 
For  those  that  will  work,'tis  hard  they 
should  want, 
Or  should  wander  for  employ. 
For  to  plough  and  to  sow, 
For  to  reap  and  to  mow, 
For  to  be,  etc. 


opposite  page.~] 

5  The  farmer's  boy,  he  grew  a  man ; 

The  good  old  farmer  died  : 
He  left  the  lad  with  all  he  had, 

And  his  daughter  for  his  bride. 
The  boy  that  was,  now  a  farmer  is, 

And  he  thinks,  and  smiles  with 

joy, 

On  the  break  of  the  day, 
When  he  passed  that  way. 
For  to  be,  etc. 


i08 


THE   NEW   SECOND 


HAPPINESS. 


\&_       &  V.         &  T>.    L.    &         R.  &         U.         &      |     D.   L.    R.       II 

r-rTTrr-T~r-g  g  g  1  r   HI 

fe      Te      fe      Ta-a     fa      Te     fe      Te      fe       Ta-a     Te 


Dr.  J.  Mainzer. 


£ 


£= 


-J^M^ 


s 


4 


i;     u     w      i        y     i;     "     "  ■  u     v     v 

1.  True  hap  -  pi  •  ness        is     not    the  growth  of  earth,      The    tri  -  al's 

2.  Sweet  flowers  of  Par     -   a  •  dise !  thy  seeds  are  sown,       In     here  and 


tEE$ 


=£ 


' 


f       f 


fruit  •  less      if    you    seek    it  here; 

there        a    mind  of     heavenly         mold; 


'Tis  an      ex    -    o  tic 

It     ris  •  es      slow        and 


Wff^ffW 


% 


Xs. 


of    ce  -  les  -  tial  birth      And  ne  -  ver  blooms      but    in      ce  -  les  -  tial 
buds  nev-er  were  known     To  bios- som  here,        the   cli-mate     is     too 


A 


II 


^TTVT^ 


r 


air,         And    nev  -  er     blooms    but      in      ce  •  les  -  tial       air. 
cold,  To    blos-som      here,      the      cli  -  mate  is      too      cold. 


From  the  French,  -f- 


i 


MY  COUNTRY. 


2 


L.  Kurs. 


3=&T — j 


V=F*=*=? 


1.  O    my  coun  -  try !  fond  -  ly  cher  -  ish'd,  All  m^"  heart's  af  -  fee  -  tion's 


NATIONAL  MUSIC   READER. 


109 


thine,        Ar  dent      glow  -  ing,        O     -        -    ver  -  flow    -   ing 


-    ver  -  flow 


PH 


1 


fe^ 


m 


rr 


t-T 


r 


^  if 

Ev  •  er  -  more  with  love  di    -  vine, —  Yes,      ev  -  er  -  more. 


2  O  my  country!  all  my  life  now 
Do  I  give  thee,  e'en  to  death ; 
And  the  story 
Of  thy  glory 
Utter  with  my  latest  breath, — 
Yes,  unto  death. 


3  O  my  country!  be  thou  blesse'd; 
Grant,  O  Lord,  we  dwell  in  peace ; 
Save  our  nation, 
From  temptation ; 
To  the  bondsman  give  release,— 
Yes,  glad  release. 


THE  TWO  VOICES. 


From  the  French. -j- 

ANDANTE. 


B.   WlLHEM. 


€ 


^=&^=± 


2Z 


Jiu 


i 


fSP 


TT 


■#■       P 


1.  Sweet  thro'  the  night  Sound-eth 

2.  Deep  in    my    soul    Sound-eth 

Joy  - 
Glad 


¥i=H*M 


the    clear        song    Of  the  night-in- 
a      sweet       voice ;  I  can  hear  it 

ful     and     bright,    .    .    .     Borne      by    the 
ac  -  cents    roll,  .    .    •    •        Bid  -  ding  my 

"   4 — i-j. 


i=±^ 


rrnr 


■». 


f 


/!•'..'■  >  + 

Joy  -  ful  and  bright,       By 

Glad     ac-cents    bid  My 


gale    in    the  wood; 
well,  day  and  night; 


winds 
heart 


% 


a  •  long, 
re  -  joice 

9 


L — uy  J  i^=*-JiJ    J    J=Rt 


w 


r-rvi 


f 


f=rr 


winds  borne  a  -  long,      It    tell  ■ 
sad  heart  re  -  joice :  'T  is  God 


eth  of    God,      ev  -  er     good, 
fills  my    spir  -    it    with  light. 


110 


THE  NEW   SECOND 
THE   NATURAL. 


(  Teachers  will  excuse  this  repetition.) 

Besides  the  sharp  ( jf )  and  the  flat  (V)  which  we  have  used,  there  is 
another  character,  called  the  natural,  made  thus  :  ft.  The  natural  is 
used  to  take  away  the  effect  of  a  sharp  or  flat ;  for  example  : 

la.  16. 


h^E^^=^^M 


^ 


A 0 ~&- 


5    #4      54321  5      t>7      6       7       8       7       8 

gfisgf        edc  g      bes      a        b        c        b        c 


SHARP-ONE. 


^m 


s 


us 


-*— * 


S3 


3 


tZJt 


+-S     J  d  -* 


*±*=*4± 


0 # 


7  8    2    2  #1  #1     2    j_  Not  d. 
e  f    g    g    fisfis    g 


I 


3^ 


£  n i J  f5 


IS 


« 


-»-t*- 


S 


^=^ 


-*    *   *- 


gb±Z3tz£ 


8      7    3 
f       e    a 

2  6. 


» 


Difficult. 


SOME   DIFFICULT   PLACES. 


fs^  ^  .qi^U-iiirtf^^^ 


g  a 


4     4  5  6      3      4 

bes  bes  c   d      a     bes 


^=^^^m^^M^^ 


THE  HERDSMAN'S  HAPPY  HOME. 

Poetry,  Old  English.  Franz  Schubert. 


mg&mmmm 


1.  What  pleas-ures  have  great    prin  -  ces    More  dain-ty        to  their  choice 


NATIONAL  MUSIC   READEtt. 


Ill 


P#^ 


i-r-4 


fe^ 


Than  herdsmen  wild  who  care  -  less,  In     qui-  et       life  re  -  joice, 


^ 


P 


gfei 


^ 


gs^ 


et 


life      re  -  joice V 


In 


qui 


2  All  day  their  flocks  each  tendeth, 
All  night  they  take  their  rest, 
More  quiet,  than  who  sendeth, 
J] :  His  ship  into  the  East.  :|| 


3  Oh !  happy  who  thus  liveth, 
Not  caring  much  for  gold, 
With  clothing  which  sufficeth 
|| :  To  keep  him  from  the  cold.  :| 


EARLY  SPRING  DAYS, 


Franz  Abt. 


I 


& 


r^wrrm 


V   v 


1.  Each  whis  -  per  of    the     wil  -  low,  Each  mur  -  mur  of    the  pine, 

2.  Now  through  the  sparkling  wa  -  ters    The    fish  -  es  glide  a  -  long, 


i 


£ 


t 


g^ 


*— +- 


~r? 


\j 


T 

Each    rip -pie    of  the 
And  thro'  the  woodland 


bil 
ech 


V 
low, 
oes 


? 


v      I 

In        joy-ful   con- cert    join. 
The     bluebird's  cheer-ful    song. 


3  The  happy  birds,  with  singing, 
The  grove  and  forest  cheer, 
From  hill  to  dale  repeating, 
The  welcome  Spring  is  here. 


4  Each  living  thing  rejoices 

In  Him  who  made  the  Spring, 
We  '11  shout  with  swelling  voices ; 
And  cheerful  praises  sing. 


112 


From  the  Freneh.-\- 


THE   NEW   SECOND 
THE  VIOLET. 


R.  Hotz. 


i 


3 


1.  Mod  -  est     flow'r, 


r^r 


that  blooms  so        pure    -    ly 


V 
In 


the 


i 


% 


% 


m 


> 


t==tr 


n 


'rr^=f 


haunts  of    birds  and    bees,    Un  -  der  leaves  and  grass-es    hid  -  ing, 


t^. 


i 


-y- 


I 


Keep    thy  sweet  hu  -  mil    -  i 

J        J'.  /    A-A 


ty,        Un  -  der  leaves  and    grass-  es 


£ 


it 


i 


1 p— *-* — & — y — ^ — & — p^-f- 

hid    -    ing,    Keep  thy  sweet  hu  -  mil    -  i    -   ty. 

2  If  the  glowing  sun  alarms  thee, 

In  thy  shy  simplicity, 
|| :  Thou  art  rendered  still  more  charming 
By  thy  sweet  humility.  :|| 

3  Beaten  by  the  storm,  the  lily 

Weeps  at  its  severity ; 
|| :  And  she  longs,  when  bruised  and  broken, 
For  thy  sweet  humility. :  || 

4  May  I  never  wish  for  grandeur, 

Bather  seek  thy  purity  ; 
|| :  Ever  have  for  my  adorning, 
Only  sweet  humility.  :|| 

5  O  my  Father,  may  my  childhood 

Pass  in  sweet  security, 

|| :  In  the  modest  ways  of  virtue, 

Guarded  by  humility.  :|| 


NATIONAL   MUSIC    READER. 


113 


THE  RAMBLE. 


J.  A.  Feberer. 


il 


LIGHTLY,  NOT  TOO  FAST. 


si 


'-^=f 


r*+  t'Vf  i  vi 


I 


1.  I've  been  sit  -  ting    by     the  hill -side,   Lit  -  tie  birds  flew      gai  -  ly 

2.  I've  been  stand-ing     in     the  gar  -  den,Where  the  buzz-ing       bees  flew 


=fc^ 


£ 


t 


m 


rT f 


round ;     What      a      sing  -  ing,  What      a     spring  -  ing      From     the 
round:     What       a      hum-ming,    Go  -  ing,     com  -  ing,         As      their 


1 


* 


rfTTf 

nest -lings  to     the  ground!        La, 
hon  -  ey  cells  they  found!  La, 


la,     la,     la, 
la,     la,     la, 


la,      la,     la, 
la,      la,     la, 

— £ 


I 


r=  r  ■.£•  f 


3: 


f F— I 


la, 


la,   la 


la,         la, 


la,      la. 


La, 


la,      la,      la, 


E=* 


±E=£ 


0 


fs — # 


rn* 


la,      la,      la, 


la,        la,      la, 


la, 


la. 


3  I  've  been  walking  in  the  meadow  : 

Little  swallows  skimmed  the  brook ; 
What  a  dipping,  what  a  dripping  — 
Oh,  how  droll  it  made  them  look  ! 
La,  la,  la,  etc. 


4  Cheerful  comrades  soon  will  join  us, 
With  the  sun's  last  parting  ray ; 
Then  with  singing,  voices  ringing, 
We  will  close  this  happy  day. 
La,  la,  la,  etc. 


114 


THE   NEW   SECOND 
SONG  OF  THE  WOODS. 


German  Air. 


|g 


&m 


m 


1.  Oh,  could  I    in      the  greenwood  be   Thro' all      the  Sum-mer-time. 

2.  The  branches  beck -on    me     to    stay    Be-neath  their  sha  -  dy  dome, 


i 


5 


£5 


0— *- 


m 


^TrFFrVr=l 


f-u-fcrrr 


What  pleas-ure  would  they  give  to    me,Those  trees  in  all    their  prime  I 
The  mead- ow- flow- ers  nod  and  say," Come, gen-tle  stran-ger  cornel" 


3  The  birds,  awaken'd  from  their  sleep, 

Are  soaring  high  and  free; 
The  deer  and  roe  with  dancing  step 
Are  springing  merrily. 

4  Young  birds  from  ev'ry  twig  and  bough, 

Enchanted  with  their  home, 
Are  singing  loud  and  singing  low, 
"  Come,  seek  the  greenwood,  come  1" 


NOW  ALL  AROUND  IS  BRIGHT. 


n  ,      

s 

ALTZBERC 

»,  i8ia 

y  p     k 

1          K '                h 

A*.  "        i 

1            r 

1 '       J             I 

rcnft    J 

0               0S               0 

i      s          j 

\S\Jo      9 

i    •        m 

• 

4 

4                        #  — 

J 

1.  Now  all         a  -  round      is 

2.  The    in    -  sect  myr  -  iads 

3.  A    thou  -  sand   fra  -  granl 

4.  The   war  -  biers   on        the 
n 

bright, 
roam, 
!     flow'rs 
spray 

Re  -  joic 

With -out 

Be  -  deck 

Re  -  joice 

•  ing    in          the 
a    house       or 
the   way  -  side 
the   live  -  long 

V    v 

A.  "       v 

1              h                        IS 

rm-ft-  - 

1          -1           ,s" 

1                 ^ 

w^—*^ 

L-j J *L J_J 

l— *T5 *~ 

#— ' 

L_^ 

-J * 

J 

NATIONAL  MUSIC   READER. 


115 


f 


i 


light  Of    Sum-mer's  gen  -  ial    rays ; 

home ;  They  sport  thro*  their  brief  day ; 

bow'rs  Of      nat-ure'sver-dant  fields; 

day,  On      air  -  y    seats    a  -  bove; 


A  -  bove  no  clouds  are 
At  morn  they  flut  -  ter 
The  lim  -  pid  lake  and 
Oh,  may      we   catch    the 


Am.                                                               IS                                                           1                                                                 f          •*                                                       ™ ' 

IJ.J   ^-jHHi    >T1        1 

s — i — > — i 

)                          m 

JL.      \         if 

f       *       J         i 

P    •                 m    • 

rm     J           *      ' 

<*■       i         * 

r           f 

\S)J     d  . 

L>              ^ 

1 _        F : 

J 

seen, 

high, 

stream 

strain, 

f~ T 5 ^ 

r] nT— -P^.      .1 

Be  -  low    all  smiles         se  - 
At  ev'n-ing  gen      -     tly 
With  hap  -  py   creat    -    ures 
And  ech  -  o       it              a  - 

ffry-X    7    i 

— p- 

d 

===?=S= 

1             I          i* 

i             *i 

__j K     A P- 

W *-" 

*- 

# 

J_. fL. 

J J * «L_ 

1.  A  -  bove       no    clouds    are  seen, 

2.  At     morn    they  flut    -    ter  high, 

3.  The     lim    «  pid    lake      and  stream 

4.  Oh,    may       we    catch    the  strain, 


Be  -  low      all    smiles    se  - 

At     ev'n  -  ing     gen  •   tly 

With   hap   -  py    creat  -  ures 

And    ech  •     o       it  a  . 


i 


rene, 
die: 

teem, 
gain, 


$ 


Like  child-hood's  sun  •  ny     days. 
Like  dew    they    pass      a  -  way. 
And  earth     its       in  -  cense  yields. 
In     har  -    mo    -  ny       a  -  bove ! 


m 


—* — * 

rene,  Like   child  -  hood's    sun 

die :  Like    dew       they     pass 

teem,  And    earth       its         in 

gain,  In       har     •   mo   •   ny 


ny 


days, 
a  -  way. 

cense  yields. 

a  -  bove I 


116 


THE   NEW   SECOND 


I 


COMING  OF  SPRING. 


-J^-J 


German. 


H 1 ft ft * ■■ 

rv=ff=rEi 


4 


4=t 


^=z- 


1.  Your    win  -  flows  up !     your  hearts    a  -  rouse !  Come  quick  -  ly  I     come 

2.  Your    win-dowsup!     your  hearts    a -rouse!  Come  quick -ly!     come 


I 


quick  -  ly! 
quick  -  ly! 


Spring  knocks  a  -  loud    to     sum-    mon         all;  O 

First    comes  the  morn-ing  wind       to        cheer,  A 


S^EE^ 


G*F  i  \  r  r   r 

hark!    it     is      his    wel  -  come    call; 
fresh  and  rud  -  dy     cav    •    a  -     Her ; 


He  knocks  as 
He    sends     a 


loud 
loud 


blast 


B=ShL--Lh-J 


Pffi 


i- 


I 


T^W^t^a^ 


as 

he 

may, 

With  ti    - 

ny 

flow'r-buds 

in 

ar  - 

ray. 

thro* 

the 

air, 

His    mas  - 

ter's 

com  -  ing 

to 

pre 

pare. 

3  Your  windows  up !  your  hearts  arouse ! 

Come  quickly !  come  quickly  ! 
Now  comes  the  sunshine,  gallant  knight, 

With  golden  spear  all  glistening  bright ; 
The  breath  of  perfumed  flowers  sweet 

Steals  through  each  narrow,  still  retreat. 


1  Your  windows  up !  your  hearts  arouse ! 

Come  quickly !  come  quickly ! 
Now  calls  the  nightingale's  glad  song, 

And  hark  !  oh,  hark  !  an  echo  long 
Within  my  breast  is  answering : 

Oh,  welcome,  welcome,  joys  of  Spring ! 


NATIONAL   MUSIC    READER. 

THE  CHASE. 


117 


Solo. 


s 


±=t&m 


se 


f 


1.  The  dusk-  y  night  rides  dowu  the  sky,  And  ush  -  ers    in     the     mom ; 


i 


3 


Ie^^S^^I 


f 


The  hounds  all  join  in     glorious  cry,  The  hunts-man  winds  his  horn. 

-JL± 


Chorus. 


Jl±J-Jl 


to 


it 


~i W~ 


m 


f=f=f 


fir? 


v    v    t 

When  a  -  hunt-ing    we     do      go,  When    a  -  hunt-ing    we     do      go, 


mmmm 


When  a  -  hunt   •  ing,      hunt    -    ing,      hunt-ing     we      do       go, 


J=i 


>      * 


m 


p 


f 


V       V 


When  a  -  hunt  -    ing,      hunt    -  ing,       hunt  -  ing     we      do      go. 

2  Sly  Reynard  he  like  lightning  flies, 

His  cunning  wide  awake  ; 
To  gain  the  race  he  eager  tries, 
His  forfeit  life  the  stake. 
Cho. — When  a-hunting,  etc. 

3  But  now,  his  strength  to  faintness  worn, 

The  hounds  have  seized  their  prey; 
Then,  hungry,  homeward  we  return, 
To  hunt  another  day. 

Cho. —  When  a-hunting,  etc. 


118 


THE   NEW  SECOND 
TRIPLETS   IN  THREE-FOUR  TIME. 


D.     &     &     L.    &     &     IT.     &     &         D.     L.     IT.         D.    L.    &      U.     &     &        D.    L.     IT. 


^H±rd!^t±Tfr-rfr-r 


# — # — #H— <£>- 


Tara  la  Ta  ra  la  Te  re  le     Ta-a    Te     Ta-a  fa  Te  re  le     Tji-a  Te 


2  a. 


» 


-K K K- 


A- N- 


4=t 


I* *- 


HH— *- 


i 


-N K K 


^^£^ 


3=3 


*=T=r=2 


fe        Ta-a    fa     Te-re-le 


$ 


3=^? 


3 


K— K 


ANN- 


a 


-2-> 


-fs— tv— V 


t+J     J    \*-" 


0-*-0-~i 0—0—0- 


f 


2  6. 


«=r*==r* 


*— *" 


Jt=^=3t 


0 — *- 


4=t±t 


F=F 


-N N" 


*=£ 


N s- 


-J--  v  r-e=g 


tsF 


I 


y 


A— N— N- 


3? 


3^* 


fcr*: 


-*— - 


£3=E 


-N — K-^v 


0-r—0 — 0 — 0- 


0~0 0- 


i<-* 


NATIONAL   MUSIC   READER. 


119 


CEASE  SWEET   CONTENT  TO  SLANDER. 

Fr.   Schubert.* 


From  "  Guy  Manner ing" 

SLOWLY. 


I L — m # 


fe£ 


? m ?     i     #  • •     I     -    c 


1.  Cease  sweet  Con  -  tent    to     slan  -  der !     More 


-  stant  than  the 


2.    But     seek    her      in     the    cot      tage       Of    some      se  -  clud  -  ed 


I 


^-i- 


3 


SE3 


f 


U  \J  IJ  I  


eFpf 


dove,  She  ne'er  was  given  to  wan-der  From  home-born  peace  and  love ;  Oh, 
dell ;  'T  is  neath  its  peace-ful  shel-ter     She   most     is     wont  to  dwell ;  She 


$ 


/  '  •  y  y 


m=? 


r  ■ 

V 

V 

t 

u=  ' 

'tis 

not 

in 

the 

pal  -  ace 

loves 

to 

soft 

en 

sor  -  row 

That    joys       like    her's 
To     drive     each    care 


I 


m 


* 


% 


* 


bound; 'T  is    not  midst  wealth  and  glo    -  ry        And      fame    that  she  is 
way,     And    o'er    the  hour  of      dark-ness,       To      shed        a  cheering 


I 


§ 


r=g 


I 


ZE 


found,        And 
ray,  To 


fame         that     she        is        found, 
shed  a        cheer  -  ing        ray. 


*  Franz  Schubert,  when  a  boy  of  eleven,  lived  in  Vienna  at  the  time  Beet- 
hoven was  in  his  prime.  He  began  to  write  music,  both  vocal  and  instrumental, 
when  very  young.  In  all  his  compositions  there  are  difficult  places,  more  so  than 
at  first  appears.  In  this  song,  the  chief  difficulty  is  in  the  time  —  particularly 
in  the  measures  containing  triplets,  which  will  require  special  attention.  The 
difficulties  in  both  time  and  tune  will  be  best  overcome  by  first  studying  well 
the  exercises  2  a  and  2  &,  on  page  118,  carefully  beating  the  time  and  using  the 
time-names. 


120 


THE   NEW   SECOND 
SPRING  SONG. 


ALLEGRETTO. 


I 


Andre. 


-S3— ft 


3 


m$ 


*-*—*-± 


H 


&=& 


f^f 


w% 


v      y*     **      V      \J      v      ^      \j      •  \J 

1.  The  heav-ens     are  smil-ing    so  soft  and  so  blue,  The  hills  and    the 


I 


t- 


"       U      "       "       "       y       i  p 

mead-ows  all    glit  •  ter  with  dew,     The  trees  wave  their  blos-soms,    so 


m 


% 


± 


JS|    J=5 


ES 


^f- 


±fc=S=^f: 


e 


3 


f 


fra-grant  and  fair,  And  sweet  warbling  songsters  are  fill-ing    the   air. 


2  We  '11  off  to  the  woods  and  leave  sorrow  at  home ; 
We  '11  climb  the  green  hills,  for  't  is  pleasure  to  roam. 
Oh  1  who  in  the  city  would  stay  the  year  round, 
When  pleasures  like  these  are  so  easily  found  ? 


3  But  ah,  the  sweet  flowers  but  bloom  for  a  day ! 
See !  many  have  fallen  and  sprinkled  our  way : 
They  fall  in  light  showers,  if  branches  but  wave, 
And  strew  the  lone  violet's  balmiest  grave. 


4  So  all  things  must  feel  the  cold  finger  of  death  ! 

The  strongest  must  fall,  and  must  yield  up  their  breath 
The  fate  of  the  monarch  is  seen  in  the  rose, 
And  ours  is  the  slenderest  blossom  that  grows. 


5  But  death  has  no  terrors  to  those  who  do  right 
To  them  he  appears  like  an  angel  of  light, 
And  smilingly  beckons  their  spirits  away 
To  realms  of  unending,  unspeakable  day. 


NATIONAL   MUSIC   READER. 
THE  ALPINE   SHEPHERD. 


121 


Greith. 


Jzs= 


-8 


^rrrrr^ 


1.  From  hills  with  snow-peaks  heav'nward  tending,  Lit    up    by      ro  -  sy 

2.  Here  dwell  I      free    and    far     from  sor- row,  And  breathe  the  healthy 


I 


^=$^ 


PfF^^ 


m 


£i 


dawn,       Lit      up      by      ro  -    sy       dawn, 
air;        And  breathe  the  health  - y        air; 


Ha  -   li      ha    -  li 
Ha  -   li      ha    -   li 


fes^£ 


&=£ 


^ 


FSP 


A=i 


ttj 


My  song     of     praise    is      now     as- 
I        am     not      anx  -  ious     for      the 


I        I 


ha  -  li 

ha   - 

li 

ho! 

ha  -  li 

ha  - 

li 

ho! 

£=£ 


t== 


TWi  f-f 


t 


v 


cend-ing,    To     greet  the  com  -  ing      morn, 
mor-row,  Nor  know   a  thought  of        care, 


To     greet  the  com  -  ing 
Nor  know    a  thought  of 


i 


a 


—A- 


&=± 


i 


« 


II 


1—+ 


~&-* 


?=± 


morn.   Ha  -  li      ha  -  li      ha  -  li      ho,      ha  -  li      ha  -    li  .  .      ho ! 
care.     Ha  -  li      ha  -  li      ha  -  li      ho,      ha  -  li      ha  -    li  .  .      ho  I 


3  At  eve,  beneath  the  starry  heaven, 

|| :  I  seek  my  humble  cot,  :||  Hali  hali,  etc. 
And  praise  His  name,  who  thus  has  given 

|| :  The  joy  that  crowns  my  lot.  :||  Hali  hali,  etc. 


122 


THE   NEW   SECOND 
TO  THE  LARK. 


Dr.  J.  Mainzer. 


i 


"W^rrTf^ffi=rn 


±=t 


1.  Pret-ty    lark,     thy  cheer-ful       lay 


Wel-comes   in    the    dawn-ing 


r  r  r  Mf 


T 

day; 


Nat-ure's    morn-ing    hymn    is 

N 


heard 


First     from 


^a^-j^vN^^ 


n 


r~g- 


r=T 


n? 


r 


i        l         l    .     y    y 

thee,  de  -  light  -  f  ul      bird,     First  from  thee,  de  -  light  -  fill 


bird. 


2  Thou  art  mounting  to  the  sky  3  As  thou  mountest  to  the  skies, 
While  thy  notes  are  heard  on  high,         May  I  in  true  virtue  rise, 
And,  so  rapid  is  thy  flight,  Seeking  Wisdom's  perfect  ways, 

|| :  Thou  wilt  soon  be  out  of  sight.  :|J  ||:  To  direct  my  future  days.  :|| 

HARVEST'S  REWARD. 

A       U.     }    D.    L.    &     R.      &     U.     &        D.  L.    &        R.  U.  |      D.     L.     R.  U.  &    |    D.    L.   R.      I 

*  r  If  g •  c  g g Mr/  g  r  If   r  gir  *  I 

Te      Ta-a  fa    Te   fe  Te  fe     Ta-a  fa     Te-e     Ta-a    Te-e   fe     Ta-a  !Te 
From  tAe  French.  -f-  (  L.  Kurz. 


S. 


fe 


£ 


* 


4^ 


rf.  J  >    ii  B 


T     P    I — ^ — |- — t/ 


i 


1.  Al  -  read  -  y  fields  and  plains  are  glow    -  ing,     Bright  in    the  sun ; 

ps    is    n    r\    is    J — v  N 


W 


*z=*z 


fefe* 


n 


^-^TT^g-r-f-rr 


f 


1/      l  J 

The  wind    is  o'er  the  cornfield  blow    -  ing,  Hay-time  is       be  -  gun. 

2  The  farmer,  joyful  with  his  neighbor,  3  So  he  whose  earnest  hands,  unceasing, 

Sees  that  his  field  Work  with  a  will, 

Will  in  return  for  honest  labor  Shall  see  his  sure  reward  increasing, 

Golden  fruitage  yield.  And  life's  garners  fill. 


NATIONAL  MUSIC   READER. 


123 


U.   j    D. 


WANDERING  SONG. 

I    J).     L.     &  U.    |    D.  L. 


rr 


U.        D.  L 


r-^rrr-rnr 


»   r  i  f     r     i 

Te      Ta      Ta     Te       Ta-a  fa      Te      Ta      Ta     To      Ta-: 


-i 


$ 


P^l 


d: 


f^ 


y 


1.  The        sky      is        so        clear,      and      all  na    •    ture        so 

2.  With      pack    on      my        back,     and     with      staff        in  my 


ip^PPf 


Wf 


r 


gay,     Fare  -  well,      dear-  est        moth   -  er,     for  I       must      a  ■ 

hand,      My      jour  -    ney      I  make       to    some       far    Strang  -  er 


^ 


r-~c- 


r 


r 


i    i 

way  I    Fare -well,  dear  -  est      moth  -  er,    for       I       must    a    -    way  I 
land:   My    jour  -  ney      I      make    to    some    far     Strang -er      land. 


3  Beyond  the  wide  plains,  on  the  banks  of  the  Rhine, 
|:  Shall  fortune  and  riches  be  speedily  mine.  :|j 

4  One  night  you  *11  be  sitting  all  weary  and  lone, 

[J:  And  thinking  in  tears  of  the  wandering  one;  :|| 

5  A  tap  at  the  window,  a  knock  at  the  door  — 

|| :  Your  son  is  returned,  to  depart  nevermore.  :|j 

6  "  God  bless  thee,  dear  mother !  "  delighted,  he  cries, 
[|:  And  empties  his  treasure  before  her  glad  eyes;  :|| 


7  "  See,  see  !  I  have  earned,  by  the  work  of  my  hand, 
|| :  This  gold,  dearest  mother,  for  thee  to  command !  ":  | 


124 


THE   NEW    SECOND 


i 


SONG  OF  PRAISE. 

(May  be  transposed  to  the  key  of  B-flat.) 


H.    G.    NiEGELI. 


PWF 


f 


r- 


1.  Oh,       praise       the 

2.  We're    heard        a 


Lord ! 
far 


r 


He     loves      to  hear  you  sing  -  ing ; 
In     God's  most  ho  -  ly  dwell  -  ing, 


^^ 


£ 


In 
So 


sweet 
loud 


ac    -    cord, 
and      clear 


Loud    let       his  praise  be      ring  -  ing ; 
Our   voic  -    es    now     are    swell  -  ing; 


1=fJ 


I 


rr: 


r-"r 


Oh, 

praise 

the        Lord!     Oh,          praise 

the 

Lord! 

fe're 

heard 

a      -      far,     We're        heard 

3  Our  voices  raise, 

With  joy  and  gladness  singing, 
And  cheerful  praise, 

Oh,  let  us  all  be  bringing ! 
|| :  Our  voices  raise !  :|| 

a 

-    far. 

4  We  bless  thee,  Lord, 

While  ev'ry  heart  rejoices  ; 
Thy  name  adored 

We  sing  with  f  alt'ring  voices ; 
J:  We  bless  thee,  Lord  1: || 


5  Then  evermore, 

In  ev'ry  land  and  nation. 
Tell  o'er  and  o'er 

The  story  of  salvation. 
|| :  For  evermore.  :|l 


NATIONAL   MUSIC    READER. 


125 


Imp 


d 


THE  SHEPHEKD-BOY. 

(May  be  transposed  to  the  key  of  B-flat  or  A.) 


F.   ZlSKA. 


2==k 


i 


r=? 


1.  A    moim  -  tain    shep  -  herd  •  boy 

2.  And  here      the  stream  -  let        mur 


am      I,  I      live      a  - 

murs  first,       Whose  wa  -  ters 


I 


d=± 


^±=t=+a 


1 


f^ 


rr 


bove    the      world 
quell    my      burn 


so        high;        Here    first      the      sun       his 
ing      thirst ;  It    pours    o'er    crag,     thro' 


i^i^g^ 


n 


PEE^E 


i  i ' 

beams  dis-plays;      Here 
rock  -  y    nook; —  I 


lin 
love, 


last 


ger 


love 


his 
the 


set     -    ting 
moun  -  tain 


I 


3 


fe^ 


i 


r^f-f 


rtrr 


r 


rays ; 

My 

home 

is 

on 

the 

moun 

brook  1 

My 

home 

is 

on 

the 

moun 

tain! 
tain  I 


3  The  mountain  is  the  home  I  love, 
Where  angry  tempests  rage  above ; 
When  their  loud  blasts  the  world  appall, 
My  soul  shall  rise  above  them  all. 

My  home  is  on  the  mountain ! 

4  And  when  fierce  thunders  roll  around, 
I  stand  above  the  crashing  sound — 

I  call  aloud  and  bid  them  cease : 

"  Oh,  leave  my  house  in  tranquil  peace, — 

My  home  is  on  the  mountain ! " 

5  And  when  the  storm-clouds  first  appear, 
And  lightning  flashes  through  the  air, 

I  wander  to  the  vale  below, 
So  gaily  singing  as  I  go. 

My  home  is  on  the  mountain  I 


126 


THE   NEW   SECOND 


THE  WORM. 

COMMENCING    WITH,  fe,   Te  fe;    OR,   AFTER   THE   RIGHT-BEAT    IN 
FOUR-FOUR    TIME. 


r-r-rrtT 


D.      L.     & 

—0- 


U.       I      D.   L.     R. 


fe      Te      fe       Ta-a     fa      Te 


I 
Te 


I 


Ta-a    Te 


i 


f-f-f1  ^    r   7  1==Fr? 


3=^ 


£=« 


1.  Turn,turn  thy  has    -    ty  foot      a  -side,         Nor    crush  that  help- less 

2.  Let    it    en  -joy        its    lit  -  tie    day,        Its        hum  -  ble  bliss    re  - 


I 


fe£^=Eg 


£ 


=3=? 


s^ 


* trt^-* 

worm;   The  frame  thy  thoughtless  looks      de     -    ride,        He -quired   a 
ceive,     Oh !     do   not    light  -  ly    take       a      -    way,       The    life  thou 


I 


j=i 


r 

r 

f 

God 

to 

form 

canst 

not 

give, 

Re  -  quired      a         God 
The      life      thou     canst 


T 

to 
not 


form, 
give. 


MODERATELY  FAST, 


THE  BEE'S  LESSON. 

(May  be  transposed  to  key  of  B-flat.) 


m 


± 


r 


r=? 


m 


Lis  -  ten    to     the    bee's  brisk  hum!    let     us    hear  what  says  she: — 
Lit  -  tie  folks,  I      won  -  der  much  that  you  are     so       la  -    zy 

fc Nv I 


n 


m 


# 


#-• 


v  &  i  z  r  ^ 


Work  and  ac  -  tion  make  our  lives  bright  and  hope-ful      ev    «    er; 


NATIONAL   MUSIC   READER. 


127 


i 


^ 


is 


pm. 


ii 


When  one    ef  -  fort  fails, — why,  then   make   a    new     en  -  deav  -  or. 

2  "  Little  folks,  I  wonder  much  that  you  will  be  wrangling ; 
Joy  and  peace  will  flee  away,  where  there's  alway  jangling, 
Our  contented  little  home  has  no  brawler  in  it, — 

If  there  were  one,  he  would  be  banished  in  a  minute. 

3  "  Little  folks,  I  wonder  much  that  you  're  so  unruly, 
Caring  not  for  Him  who  has  cared  for  you  so  truly. 
We  obey  our  lady-queen  and  with  love  attend  her, 
And  from  harm  and  injury  with  our  lives  defend  her." 


FALSE  PRIDE. 


Treves,  1812. 


<m 


4V 


EH 


1.  How  proud  we  are,  how  fond  to  show      Our  clothes,  and  call  them  rich  and 


£ 


$ 


i     f  '  t  i  {  i  \  i]f 

iew,  When      the    poor  sheep  and    silk  -  worm  wore 


That 


v    v 


ver  -  y  cloth-ing    long   be  -  fore,    That    ver- y  cloth-ing  long  be -fore. 

2  The  tulip  and  the  butterfly 
Appear  in  gayer  clothes  than  I ; 
Let  me  be  dress'd  fine  as  I  will, 

|| :  Flies,  worms,  and  flow'rs  exceed  me  still.  :|| 

3  Then  will  I  set  my  heart  to  find 
Inward  adornings  of  the  mind 

Love,  knowledge,  virtue,  truth,  and  grace, — 
[j:  These  are  the  robes  of  richest  dress.  :|| 


128 


THE    NEW    SECOND 


THE  BUGLE'S  SONG. 


ALLEGRETTO. 


£e£^ 


Carl  Keller. 


^=^_ 


H 


1.  How  sweet-ly  swell, Thro'  wood   and  dell, 

2.  Each  list -'ning  ear      Is      still,      to  hear 


The 
The 


bu  -  gle's  sil 
note      so  clear 


ver 


I  i^iu'lu'''1  w    .[        V 

song !  The    ech  -  oes  round  Send  back  the  sound,  And  speak  so    long,  so 

blown ;  While  rocks  a-round  Send  back  the  sound,And  an  -swer  tone  to 


i 


feet 


,  pp     Echo. 


m$ 


T°=r=r 


long,       so          long,       so 

long, 

so         long,       so          long. 

tone,       to          tone,       to 

tone, 

to        tone,      to          tone. 

3  Each  leaf  is  still, 

4  O'er  hills  and  plains 

Through  dale  and  hill; 

A  Sabbath  reigns ; 

The  birds  to  carol  cease ; 

Then  own  its  soothing  pow'r ; 

The  bubbling  stream 

All  self  forego, 

Would,  list'ning,  seem 

And,  bowing  low, 

To  flow  in  peace,  in  peace,  etc. 

Be  silent  and  adore,  adore,  etc. 

MODERATO. 

mf 


THE  NIGHTINGALE'S  ANSWER. 


German  Air 


h  J      > 


t 


P^^ 


*    1 


-    <  Night-in  -  gale,    Night  -  in  -  gale,  thou  more  sweet  -   ly    canst  sing, 
( Night-in  -  gale,    Night    in  -  gale,      all     do      list        to      thy     lay. 


NATIONAL   MUSIC    READEK. 


129 


p  ritard. 


,  mf  a  tempo. 

^— i N — 


^m 


& 


sweet  -    ly    canst  sing,       Than       ev    -    'ry      oth    -    er      bird ;   ) 
list        to      thy    lay,        When  -  ev    -     er     thou     dost    sing.    > 


i 


m 


?zt: 


?^3 


5    * 


,  p        ^  j,  U  k 

When   thou        sing    -  est,    all       the      world      doth    cry,      Now  comes 


ritard. 


tm 


^ 


a  tempo, 


b- 


*=* 


V  V        *        V        V 

Spring  so     long    de    -   ferred  1  Night-in    gale,     Night-in  -  gale,    all    do 


5      5 
^      • 


i 


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,  p  ritard. 


r        ft     &jr 


mf  a  tempo. 

^__, — ps fv 


3^* 


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r-r- 


*    V    i>     ff2 


rf 


list      to   thy  lay,    list  to  thy  lay,  WTier  -  ev   *  er      it       is    heard. 


2  Nightingale,  Nightingale,  why  so  fl:  silent  art  thou?  :[| 

Why  sing  so  short  a  song? 
Nightingale,  Nightingale,  wherefore  |J:  sing'st  thou  no  more?  :| 

We  for  thy  music  long. 
When  thou  singest,  all  are  full  of  joy ; 

All  our  hearts  grow  firm  and  strong ; 
Nightingale,  Nightingale,  wherefore  ||:  sing'st  thou  no  more  ?  :[J 

We  for  thy  music  long. 

3  When  the  May,  when  the  May,  when  the  J:  bright,  merry  May,  if 

With  buds  and  flower's,  is  o'er. 
Then  my  heart,  then  my  heart  all  so  ([:  sorrowful  is, :( 

That  I  can  sing  no  more. 
Not  a  single  song  can  give  me  joy, 

As  they  always  did  before ; 
Yes,  my  heart,  yes,  my  heart  all  so  || :  sorrowful  is, :  (j 

That  I  can  sing  no  more. 


130 


THE    NEW    SECOND 


$ 


THE    SPARROW. 


Dr.  J.  Mainzer. 


*=1 


t=4 


f 


' 


t     Si 


f=TrB=f=Q 


1.  The  spar-row  builds  her   lit  -  tie       nest  Of  wool      and     hay      and 

2.  Who  taught  the  bus  -  y     bee     to        fly      A-  mong    the    sweet «  est 


I 


& 


*=£ 


9*=^ 


i      i      i      i       i      i 

moss;        Who  taught  her      how      to      weave 
flow'rs,         And     lay       her    stores      of        hon 


r-4   ' 

it         best,      And 
ey        by,        To 


i 


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j— i 


ini 


lay      the  twigs  a  -  cross? 
last    thro'  Win  -  ter's  hours, 


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Who  taught  her    how     to    weave     it 
And      lay     her   stores   of        hon  -  ey 


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best,  And  lay 
by,     To  last 


'trf 


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the     twigs    a    -    cross?    Who  taught  her  how    to 
thro'    Win  -  ter's     hours,     And    lay     her  stores  of 


fcsbd  si 


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i      r 

weave       it 
hon   •    ey 


! 

best, 


r 


And 
To 


lay 
last 


the 
thro' 


twigs 
Win 


a 

ter's 


cross  ? 
hours. 


Who  taught  the  little  ant  the  way 

Its  winter  home  to  bore, 
And  through  the  pleasant  summer  day 

To  gather  up  its  store, 
|| : And  thro'  the  pleasant  summer  day, 
To  gather  up  its  store  ?:|| 


'T  was  God  who  taught  them  all  the  way, 

And  gave  to  them  their  skill, — 
Who  teaches  children  when  they  pray, 

To  do  his  holy  will ; 
|| :  Who  teaches  children,  when  they  pray, 
To  do  his  holy  will.: || 


NATIONAL   MUSIC    READER. 


131 


THE  BLIND  BOY. 


±=±Ei 


Old  German. 


t=d= 


4 


4r — •- 


not  that 


# 


i     i     i  |      " 

1.  It       is      not  that      I      can  -  not     see    The   birds  and  flow'rs  of 

2.  They  tell    me  that    the  birds  whose  notes  Fall  full     up  -  on        my 


i 


EEtEEl 


-r  t  r    f 

Spring;       'Tis        not       that    beau    -  ty        seems 


ear 


Are       not        all      beau    -  ti 


ful 


• 

1 

1 

to 

me 

A 

to 

sight, 

Tho 

s 


m 


& 


dream    -  y,      nn  -  known  thing : 
sweet    their  songs       to      hear, 


1 

[ 

]/        1 

1 

It 

is 

not    that 

I 

They 

tell 

me     that 

the 

i^t=i=4 


sky, 
brings, 


1  V       \  I  \f       Y  ' 

can    -  not  mark     the        blue     and    star  -  ry 
gay    -  est  flow'rs,  "Which    sun  •  shine    ev    -  er 


Nor 
Are 


m 


r 


O  - 

not 


cean  foam,  nor  mountain  peak,  That    e'er      1   weep  and  sigh, 
the  ones    I    know    so  well,   But  strange  and  scent-less  things. 


My  little  brother  leads  me  forth, 

To  where  the  violets  grow; 
His  gentle,  light,  and  careful  step, 

And  tiny  hand,  I  know ; 
My  mother's  voice  is  sweet  and  low, 

Like  music  on  my  ear ; 
The  very  atmosphere  seems  love, 

When  they  to  me  are  near. 


4  My  father  twines  his  arms  around, 

And  draws  me  to  his  breast, 
To  kiss  his  poor,  blind,  helpless  boy ; 

He  says  he  loves  me  best. 
'T  is  then  I  ponder  unknown  things, 

It  may  be,  weep  or  sigh, 
And  think  how  glorious  it  must  be, 

To  meet  affection's  eye  I 


132 


THE   NEW   SECOND 


THE  RAIN. 

(May  be  transposed  to  F.] 


SCHADE. 


am 


fe=3= 


f 


the    mist  -  y        rain, 


f^r 


r 


1.  See !  o'er    yon  -  der    moun  -  tains    Moves 

2  Rich  or    poor,  what  mat    -     ter?     Each     is     here  for      good 


« 


PP* 


±= 


-w 


Z&L 


Pass  -  ing,  from  heav'n's  foun  -  tains,     Bless-ings     on    the      plain. 
Good  seeds  let      him     scat    -    ter        In    con  -  tent  -  ed      mood. 


mri=hHim 


t=f^ 


Now  *s  the  time    for      grow  -  ing;  Quick-ly,    then,  be       sow 
For      ye  share    to    -   geth    -    er      Sun-shine    and  wet    weath 


ing! 
er: 


I: 


1 


]=Mm 


~GL 


Let    the    well-till'd     field      . 
Heav'n  these  bless-ings     gives     . 

3  Let  the  sage,  so  knowing, 
On  his  wisdom  build  ; 
We,  still  planting,  ploughing, 
Wait  what  God  hath  willed. 


rrrf  r 

Rich    a  -  bun  -  dance  yield. 
To    each  one    that    lives. 


T  is  while  Heav'n  befriendeth, 
Rain  and  sunshine  sendeth, 
That  the  verdure  thrives : 
God  the  blessing  gives. 


I 


THE  GROVE 
p  Echo.  f 


± 


C.  M.  Vox  Weber, 
p  Echo. 


#=fc 


I 


t 


t 


f=*=f=t=±f 


the    grove, 
the     world, 


1.  The    grove, 
2*  The    world, 


the     grove, 
the    world, 


the    grove, 
the    world, 


The 
The 


NATIONAL    MUSIC    READER. 


133 


I 


p  Echo. 


±d 


p  Echo. 


e£ 


s 


5 


^ 


mTr^ 


V     v    v 

fresh  and  love-ly  grove,  The  grove,  the  grove,    where  ech  -  oes  sound,  where 
great  and  spacious  world, The  world,the  world         is      our     a  -  bode,      is 

/  h        fc      fs  ,    pEcho. 


3^1 


U 


3E£ 


tf=£ 


3=^=e 


[         \         I  V  y      y  y  y       y 

ech  -  oes  sound,    The  grove  where  echoes  sound,  The  grove  where  ech-oes 

our      a  -  bode,     The  world    is    our    a  -  bode,  The  world    is     our     a  - 

/  s-  s  ,  p  Echo. 


FT 


5E 


P 


y  b  j  _s — t — r 

sound,        We    hark      to    the     note       of      the   morn  -  ing    horn,    We 
bode.  We    wan  -  der      a  -  way      thro*  the    fields     so      fair,     We 

,/        >- 


I 


± 


r-~v 


% 


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I 


hark      to     the     note       of    the    morn  -ing    horn,Where  flow  - 'rets  and 
wan  -  der      a    -  way    thro'  the    fields     so      fair ;  Our     cho  -   rus     is 

9pEcho.    5^. 


^=$=5- 


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i;     p     ,p     «       y       u       u       y       v     v      v 

ros  -  es     the  grove      a   -  dorn, Where    flow  -  'rets  and    ros  -  es    the 
mer  -  ri  -  \y  sound  -  ing    there,    Our     cho  -  rus    is      mer  -  ri  -  ly 


,/L 


y  Echo. 


t=£ 


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r 


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grove    a  -  dorn.   The    grove,    the  grove,  ■  the    grove,      the  grove,    The 
sound-ing  there.   The   world,    the  world,     the     world,      the  world,  The 


I 


•E-J- 


qj ,  Echo 


IE 


_#__. 


1 


ir~z 


rr 


grove    where  ech  -  oes    sound,    The    grove  where  ech  •  oes      sound, 
world       is      our      a  •    bode,     The    world      is      our       a    •     bode. 


134 


THE    NEW    SECOND 


THE    SWISS    BOY. 


Greith. 


I 


r*5      K      ^ 


£? 


v 


*-?- 


(Fr< 
-I    A 


j  From  pine-clad  hills  and     moun-tains,  My  cher-ished  childhood  home,  ) 
A      land    of  bless  -  ed      free  -  dom,    A      gay  Swiss  boy,    I    come ;  ) 


b=^z= 


wm 


v 


5!    v 


I        glo    -  ry    in      my    mountain-land, When    on         its  snow-crown'd 


£ 


y       u     f.      y      r,      r.      y      y 


y     y  y      y 

heights      I     stand ;  From  pine  -  clad    hills     and      moun  -  tains,       A 


1 


'^m 


F-=t 


-#-v 


-*=* 


-v v p         p        ^r 

gay    Swiss    boy,     I      come. 


Tra     la 


fci 


la      la       la      la      la 


i 


P 


Repeat  pp. 


ill 


f^ 


la        la       la,       Tra 


la        la 


! 

la. 


Among  my  merry  comrades 

A  joyous  life  I  lead, 
And  in  our  verdant  valleys 

No  pain  nor  sorrow  heed. 
From  hill  and  vale  our  songs  we  raise, 
Our  grateful  songs  of  joy  and  praise ; 
From  pine-clad  hills  and  mountains, 

A  gay  Swiss  boy,  I  come. 

Tra  la  la,  etc. 


NATIONAL   MUSIC   READER. 


135 


SUMMER  JOYS. 


Wm.  B.  Bradbury. 


I 


Chorus. 


3^m 


l  <«g-i — ■ — 


1.  Joy      is  warbling  in    the  breez-es,       Pleasures  smile  a  -  long  the  fields. 


J 


h     ,N    ,* 


« 


i 


#— ^ 


*-# 


a 


cs  rr  r'3g:cipc,e .  c  c'r 

Na-ture,clad  in  robes  of  beau-ty,      All  .  .  .  that's  sweet  and  lovely  yields. 


T=xFZ- 


Duet  or  Semi-chorus. 


3^%m 


i        U     ^     b    L     \J 


Heav'n  now  sheds  its  mildest  splen  -  dor 


O'er    the  land  and  o'er  the  deep ; 


d.c. 


mmmm 


i 


In  -sects  feel  the  common  pleas  -ure, 


9 


<5>— 


*J        \J       ^        •        \J         1 

— Forth    in  hap-py  crowds  they  creep 


2  Humming  bees  and  sailing  swallows 

Gaily  tell  the  lively  glee 
Nature's  now  so  kindly  shedding 

Over  all  the  eye  can  see 
"  Welcome,"  says  the  flock  that's  feeding 

On  the  verdant,  grassy  hills ; 
"  Welcome  ! "  echoes  many  a  songster, 

Chirping  round  the  rippling  rills. 

3  Blooming  flow'rs,  their  sweets  exhaling, 

Join  to  make  the  charming  scene 
Yet  still  more  like  happy  Eden, 

Ere  the  blight  of  human  sin. 
Glad  we  hail  thee,  lovely  Summer, — 

Welcome,  truly,  is  thy  smile  ; 
Oh,  that  all  like  thee  were  lovely, 

Free  from  woe  and  free  from  guile  I 


136 


I 


i- 


THE   NEW   SECOND 

CHANGES. 

h  N  9 


German  Melody. 


Fine. 


55 


1 


W 


-N F 


^^  I    r  <  i>  \     5^1  .  Is  '  *  f 

(  Yes-ter  -  day     it  hail'd  and  snow'd ;  All  was  white  on    field  and  road ;   ) 
*  \  Now  the  snow  is        all     a  -  way,   And  the  hills     are  bare  and  gray.  ) 


m 


m 


t=t 


Oh,  this  life  is      ev  -  er     chang-ing ;  All  our  pleasures  melt  a  -  way ; 


*=£ 


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-H-J       Sm m ~* * — ir-  -J-       J     J     -J * 

Hope  a  -  lone    re-mains,  to  prom-ise    Some    fut  -  ure,  bright-er  day. 


2  Yesterday  my  great  delight 

Was  my  rose-tree,  fresh  and  bright ; 
Now  its  faded  flowers  are  shed ; 
All  may  on  my  roses  tread. 
Oh,  this  life,  etc. 


OH!   THE  LOVELY,  LOVELY  MAY. 


fewj ±=± 


±=*=± 


German. 


m 


f=f 


r=B=f 


I        v    I       if      ■       u    I       |       v    \       v      i       f/    i 

1.  Oh,      the  love  -  ly  month  of  May  Ev  -  er    wel-come,    ev  -  er    gay! 

2.  Oh,what  verdure  clothes  the  ground !  Oh,  what  fragrance  breathes  around 


--ft— C5— £jr-1 1-g 

t  tJTt  r  t 


S 


~f~~ &  cj-  u  ■  r. '  r     r  r  u 

When  by    vale    and  mountain,        When  by    brook  and    fountain, 
See      the    wil  -  lows  grow  -  ing  _         By    the  stream  -  let    flow  -  ing, 


NATIONAL   MUSIC   READER. 


137 


§ 


r 


r 


7 


rt 


m 


Flow'rets  bloom  and     in  -  sects  play,  In       the  love  -  ly,     love  -  ly  May. 
See      the  grain    is    wav  -  ing  high,  'Neath  the  blue  and    cloud-less  sky 


M=^ 


B* 


^^^^^^^ 


Oh,  the  love -ly,    love  -  ly  May,        Ev  -  er  wel-come,  ev  -  er      gay! 


Charm-ing,charming,charming,charming,charm-ing,  love  -  ly      May ! 


3  Oh,  how  fresh  the  morning  air ! 
Oh,  how  lovely  all  things  are, — 
Birds  so  gaily  singing, 
Woods  and  meadows  ringing, 
Buds  and  blossoms  fresh  and  bright, 
Leaves  so  green, — enchanting  sight  I 

Oh,  the  lovely,  etc. 

4  Hark  the  universal  shout ! 
Nature's  fairest  forms  are  out ; 
Lambs  are  playing,  skipping, 
Bees  are  buzzing,  sipping ; 
Walk,  or  ride,  or  row  the  boat — 
Stand,  or  fall,  or  sink,  or  float, — 

Oh,  the  lovely,  etc. 


tW 


PICNIC  SONG. 


-M^- 


-*-* 


i 


-#   .   #- 


£4 


*=r 


i  * 


rr^rt 


*  *  v     i  —  V 

Join  we  now  in  mer-ry  song, Voices  ringing  cheeri  -  ly, 
While  we  roam  the  woods  annong,Gay  and  [Omit     .    .    .    ]  free. 


138 


THE   NEW    SECOND 


CONTENTMENT  IS  HAPPINESS, 


German  Air. 


QUASI    ANDANTE. 


PM 


n 


-i=w- 


am       con  -  tent  -   ed,       go    things  as     they    will, 


1.  Yes,     I 

2.  Tho'     no    brill  -  iant   torch  -  es 


on 


my    sup  -  per    shine, 


I 


& 


3 


TT 


i^ 


Dwell  -  ing      in        my      cot  -  tage,     peace  -  f ul  -  ly       and    still. 
Tho'     in      cost  -    ly      gob  -  lets      spar  -  kle    not      the     wine, 


3^d 


JS 


« 


*=* 


Ma  -   ny  a    fool    has     all    things    that    his      eyes      be  -  hold, 
I        have  what      is     need  -  f ul,       suf  -  fer      not     from  dread; 


I 


is 


M 


m 


m 


But       to       be      con  -  tent  -  ed,       bet  -  ter       is      than    gold. 
Noth  -  ing     can  taste  sweet  -  er      than    my    hard-earned  bread. 


3  Though  my  name  be  never  heard  in  foreign  land, 
Though  no  stars  nor  orders  on  my  bosom  stand, 
So  my  heart  be  noble,  what  were  all  the  rest, — - 
So  my  brother's  welfare  fill  my  humble  breast? 

4  I  want  no  proud  palace,  want  no  stately  hall ; 
Brightly  on  my  cottage  heaven's  sunbeams  fall. 
Where  content  is  dwelling,  softly  lies  the  head, 
Whether  hard  or  downy  be  the  sleeper's  bed, 

5  Though  no  costly  marble  will  adorn  my  grave, 
Though  above  my  coffin  will  no  banners  wave, 
Sacred  peace  will  hover  o'er  my  humble  pall, 
And  upon  my  green  grave  friendly  tears  will  fall. 


NATIONAL    MUSIC    KEAD»R. 


139 


THE  FOUNT  OP  JOY. 


German. 


CHEERFULLY. 

Chorus. 


$ 


*3=UeM 


,    (    Joy,  yes,joy  's  the  quick'ning  stream,  Which  the  whole  earth  \va  -  ters,  > 
*(  Gladd'ning  with  its  crys-tal    gleam,  All    her  sons    and  daugh-ters. ) 


m 


JDiwt  or  Semi-Chorus. 


3^ 


4=*s 


t — I" 


■-i=^t 


iii    i  'I 


What  in     val  -  ley     blow  -  eth,     What  the   hill  -  side   show     •  eth, 


h     r-i 


Chorus. 


i=± 


m 


^L 


L=J: 


* 


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f=r 


Full    of       joy        it        glow    -   eth. 


t>  I    J    J 


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There  are    stores     of 


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•—* 


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7r  ■'   =a-r-5"^=f-^r1T-f-y-T^ 

joy      to    bless,        And    our    dan   -    ger        is      ex  -  cess,  And  our 


i 


£—4. 


^ 


P== 


rTTT 


1/      t< 

dan  -  ger    is       ex  -  cess,    And  our     dan  -  ger      is       ex  -  cess. 


2  Every  one  in  his  own  way 

Eagerly  pursues  it : 
But  to  seek  is  oft  the  way 

Certainly  to  lose  it : 
Happy  he  that  knoweth 
Where  the  true  joy  groweth, 
And  the  false  foregoeth. 

Yes,  we  've  stores  of  joy,  etc 


140 


THE    NEW   SECOND 

WE  KNOW  A  LAND. 


H.  G.  N^egeli. 


n     Solo.      MODERATE. 

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1.  We  know    a  land       of     beau  -  ty's  train,    A-dorned  with  streams  and 

2.  We  know    a  land       of      vir  -  tue's  growth,  A     land    that   no        de  - 


BE 


": 


f^SEE^E 


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groves  and  fields,  Where  clus  -  t'ring  grapes   and    wav  -  ing  grain  The 
cep  -  tion  knows,       A      hap  -   py      land,  where  love     and  truth  Al- 


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n 


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ground  in    rich     pro  -  fu 
lay     the    pain     of       earth 


sion  yields.      This  realm  of    beau  -  ty 
ly      woes.        This  wor-  thy  land     we 


± 


so     well  known  Is     but     the  land     we      call 
well     may  own ;  It       is         a    land     we      call 


our 
our 


own. 
own. 


3  Solo. —  We  know  a  land  where  moral  light 

Has  shed  its  hallowed  influence  round : 
Whose  people  know  the  God  of  might, 
And  love  the  gospel's  gladd'ning  sound. 
Cho. —  This  sacred  land,  so  lovely  shown, 
We  surely  may  be  proud  to  own. 


4  Solo. — We  hail  thee,  Land  so  pure  and  great; 
With  welcome  honors  thee  we  greet : 
Oh  !  may  we  ev'ry  evil  hate, 
That  God  may  here  maintain  his  seat. 
Cho. —  So  shall  we  ever  love  to  own 

That  this  great  nation  is  our  own. 


NATIONAL   MUSIC    READER. 


HI 


COMMODO. 


MIDWINTER. 

(May  be  transposed  to  Key  of  E-flat.) 


/>     >.?.    /  7 


F.  Geyer. 


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the    snow,  and  feel    how 


¥        ¥ 
1.  Now    be -hold!    now    be  -  hold!     See 


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cold  1     Chil  -  dren,     come,  with      joy      and      sing  -  ing,  Where      the 


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V       V       V        *  \j        *        \j      \j      ¥      ¥      '\j      \j      ¥      ¥ 

bright  fire  burneth,come !  And  while  round  your  warm  hearth  springing, Think  of 


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¥       [,        ¥       ]y      I         *■     *■     '  *      * 

those  who  have    no  home,Thanking  God !  thanking  God !  thanking  God ! 


2  Grateful  be  !  grateful  be  for  your  mercies  rich  and  free  I 
Oh,  how  many,  poor  and  weary, 

Sad  and  hungry,  sick  and  cold, 
Wander  through  this  world  so  dreary, 
Suffering  more  than  can  be  told  ! 
Grateful  be !  grateful  be !  grateful  be ! 


3  Time  improve !  time  improve !  learn  in  youth  to  look  above ! 
God  will  bless  your  pray'rful  waiting, 

And  your  pious  deeds  requite ; 
Doing  good,  and  evil  hating, 
Are  well  pleasing  in  his  sight. 
Time  improve !  time  improve  !  time  improve ! 


142 


THE   NEW   SECOND 


COME,   MAY,  THOU   LOVELY  LINGEREB. 

ALLEGRETTO.  MOZART. 


^ 


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lin-g'rer !    And  deck  the  groves   a  -     gain, 
have  man  -  y      And  man-y  a    dear    de  -  light : 


1.  Come,May,thou  love  -  ly 


§ 


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t=F&f±?3 


And    let 
We    fro 


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thy  sil  -  v'ry  stream-lets     Me  -  an  -  der  thro'  the    plain, 
lie    in    the    snow-drifts, And  then — the  Win-ter     night, 


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We  long  once  more  to  gath  -  er,  The    flow-'rets   fresh  and    fair;  . 
A-round  the  fire      we  clus  -  ter,  Nor    heed  the     whistling    storm 


1 


mmmmm 


Sweet  May !  once  more  to    wan  -   der,  And  breathe  thy  balm  -  y      air. 
When  all    with-out      is     drea  -   ry,    Our  hearts  are  bright  and  warm. 


3  But  oh,  when  comes  the  season 
For  merry  birds  to  sing, 
How  sweet  to  roam  the  meadows, 
And  drink  the  breeze  of  Spring ! 


Then  come,  sweet  May !  and  bring  us 
The  flow'ret  fresh  and  fair ; 

We  long  once  more  to  wander 
And  breathe  the  balmy  air. 


PATRIOTIC  SONG. 


MAESTOSO. 


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Scotch  Air. 


m 


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1.  Friends, we    bid   you  wel-come  here.  Freedom's  sa 

2.  Who     is     he,    de  -  void  of  shame.  Jus  -  tice  for 


cred  cause    re-vere ; 
him-self  would  claim, 


NATIONAL   MUSIC   HEADER. 


143 


P 


£?==£: 


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Dai    -  ly  breathe  a  pray'r     sin-cere      For    them  who  suf   -  fer  wrong. 
Yet       de  -  rjy      to      all      the  same,  Thro'  vain    and  self    -  ish  pride? 


W — v b     b  — $     i>       *     '      '   I       # — £ £ — j? * — l~ 


Fear    not,  lest    your  hope  should  f  ail,Truth    is  strong  and  must  pre-vail ; 
Friends,you  long    our  hearts  have  known;  You're  not  left    to    fight    a -lone; 


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9    9       *    J'     S>    '       v      v       y 

What  tho' foes     our  cause     as -sail?  They'll  nev  -  er  pros-  pier  long. 
We   will  make  the  cause     our  own,    For  Heav'n  is     on       our  side. 


3  Who  would  live,  to  live  in  vain, 
Live  alone  for  wordly  gain, 
Spending  days  and  nights  in  pain 
For  some  ignoble  end  ? 


We  would  hope  to  leave  behind 
Better  times  than  now  we  find ; 
Better  be  it  for  mankind 

That  we  have  lived  their  friend. 


THE  LARK  POURS  FORTH. 


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1-  The  lark  pours  forth  a    song    of    love,  Her    joy       to       tell, 


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God,  who  hears    it      from      a  -bove,    It      pleas  -  eth      well. 


2  O'er  ev'ry  creature  that  doth  fly, 
Or  walk,  or  creep, 
An  ever-constant,  watchful  eye, 
Their  God  doth  keep. 


3  Thy  voice  he  hears,too,  when  outpour'd 
In  joy  or  woe,  [  Lord 

And  though  't  were  mute,  yet  God  the 
Thy  heart  doth  know. 


144 


THE    NEW   SECOND 


COME,   SEEK  THE  BOW'R.* 

Dr.  Lowell,  Mason. 


ALLEGRO. 

1st  Semi- Chorus. 


1 ¥ — F — ¥  '  '      tr-r 


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1.  Come,  seek    the  bow'r,  the       ro  -  sybow'r;  I      love    its    cool      re - 

2.  Ye  youths  and  maid  -  ens,    join    the  song;    I      love      a     cheer  -  ful 


2nd  Semi-Chorus. 

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glee; 


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The    sun 

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I 


1st  Semi- Chorus. 


trti^r^i 


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are"""      our  feet.  Then      Ed  -  ward    and      Em  -  ma,      and 

sing      with        me.  Then      Ed  -  ward    and      Em  -  ma,      and 


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the    beau  -  ti  -  ful      maid, 


,  And    Kit  -  ty, 


Jo-seph  and   Sar  -  ah 


2nd  Semi- Chorus. 


,V 


F  ¥         '         F         ¥         "         F  ¥         "         F         ¥         "  F 

[f  V  \¥         ^  V  V 

And    Will -iam  and    Ma  -  ry,     and      Ro-bert    and    El  -  len,     And 


Full  Chorus. 


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¥      '  — n         p      ¥      \j      r 

Rich-ard,  the    call      o    -     beyed.      Then   Ed  -  ward  and   Em  -  ma,   and 


•   *  The  experimental  introduction  of  music  as  a  public-school  study  in  Boston 
occurred  in  December,  1837,  under  Lowell  Mason  ;  and  the  result  proved  his 


NATIONAL   MUSIC    READER. 


145 


*=? 


f ^— * 


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Jos-eph  and    Sar  -  ah,  And     Kit  -  ty,  the    beau  -  ti  -  ful       maid, 


1 


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And    Will  -  iam    and   Ma  -  ry,    and       Rob  -  ert    and      El  -  len,  And 


Semi- Chorus. 


The    call 


m 


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Rich-ard,   the      call 


beyed. 


o   -  bey'd,  The  call      o 


bey'd, 


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beyed. 


Full  Chorus. 


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.     The    call 


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sought  the  bow'r,  the    ro  -  sy  bow'r,  And  sat    in    the    pleas  -  ant      shade, 


ad  lib.  a  tempo. 


~3 p 

m 


II 


far=f=z^-t-f-i-i — :  i  *   '   «j  *  j  *  |  j  =^ 

They  sought  the  bow'r,the  ro  -  sy  bow'r,And  sat  in    the   pleas-ant     shade. 


superior  ability  as  a  teacher  in  this  field.  The  above  piece  was  rendered  in  the 
first  following  exhibition  of  the  Hawes  School,  South  Boston,  Aug.  14,  1838. 
Among  the  others  were  "Flowers,  Wild-wood  Flowers,"  page  92,  and  "Mur- 
mur, Gentle  Lyre,"  page  147,  of  this  book.     The  study  was  made  general  ir 

1839. 


146 


THE   NEW   SECOND 
THE  HARVEST  TIME. 


i 


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FT  %  r   t  f :  f  i'  r~t~T~T 

1.  Thro'  lanes  with  hedge-rows  pearl  -   y  Go    forth   the    reap  -  ers 

2.  At     noon  they  leave     the  mead  -  ow,  Be  -  neath  the    friend  -  ly 

3.  And,  when  the    west       is     burn  -  ing,  From  shav  -  en    fields    re  - 


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turn 


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A  -  mong      the  yel  -    low  corn, 

Of    mon  -    arch  oak       to  dine, 

Up  -  on         the  train   they  come. 


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mong    the 

yel  - 

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corn-.  .  . 

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be 

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mon  -  arch 

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to 

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its 

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on       the      train   they     come;  .  .         And     all      their    ham  -  let 


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y        Goes    up  a     thank  -  ful       sto 


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har  -  vest    is        so      fine,    .     .     .   The  har  -  vest   is      so       fine.  .  . 
mer  -  ry    har  -  vest    home,     .     .  With  mer  -  ry  har  -  vest    home. 


tfATIOXAL   MUSIC   HEADER. 


14? 


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Tra  la  la  la,  Tra  la  la  la,  The  bus  -  y  har  -  vest  time, 
Tra  la  la  la,  Tra  la  la  la,  The  bless  -  ed  har  -vest  time, 
Tra    la      la    la,    Tra  la      la     la,  The  joy-oushar  -vest    time, 


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Tra  la      la   la,     Tra    la  la    la,  The  bus  -  y  har  -  vest  time. 

Tra  la      la   la,     Tra    la  la    la,  The  bless-  ed  har  -  vest  time. 

Tra  la      la    la,     Tra     la  la     la,  The  joy  -  ous  har  -  vest  time. 


NIGHT  SONG. 


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1.  Mur-mur,  gen   -  tie     lyre,  .  .     Thro' the     lone  -  ly      night; 

2.  Hark  !  the  quiv    -  'ring  breez-es       List  thy    sil    -  v'ry     sound ; 


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Let      thy  tremb-ling     wire,  .  .      Wa-ken     dear    de  -  light; 
Ev    -  'ry      tu  -  mult  ceas  -  es,        Si  -  lence  reigns  pro  -  found ; 


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Tho'    the  tones    of      sor  -  row,      Min  -  gle    with    the    strain, 
Hush'd  the  thou-  sand  voic    -   es,       Gone  the    noon  -  day    glare  ; 


iifefeg 


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Yet     my   heart   can     bor  -  row,    Plea  -  sure   from   the      pain. 
Gen  -  tie     spir  -   it   -   voic  -   es,      Stir    the     mid  -  night     air. 


14S 


THE  NEW  SECOND 
VACATION  -  SONG 


it^- r r f * : r r r 1 £— 

"N^hNHM-^W  j  }  — H 

y 


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1.  A    -    way       o  -  ver    mountain,    a    -    way     o  -  ver    plain ;     Va 

2.  We  've  sought  the    ap  -  prov  -  al       of     teach  -  ers  and  friends     In 


I 


ca  -  tion  has  come  with  its    pleasures  a- gain;  Where  young  steps  are 
climb-ing    the  path    that   to  knowledge  ascends;  But    now     'tis       all 


bound-ing,  And  young    hearts  are      gay, 
o   -  ver,  We'll  off        to        our      play, 


To      fun      and        to 
Nor   think     of        our 


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frol  •    ic,         a  -  way,        boys,    a  -    way!  A    -    way  I  A- 

books    while  from  school  we  're     a  -      way.  To  -    day,  To- 


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way !  To      fun    and     to      frol    -  ic,         a  -  way,     boys,      a  - 

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way !         To      fun   and  to      frol  -  ic,     a  •  way,   boys,  a    -    way  I 

way.        Nor  think  of   our  books  while  from  school  we 're  a-way. 

f  Concluding  stanzas  on  opposite  page.~\ 


NATIONAL  MUSIC   READER. 
CHEERFULNESS. 


149 


B.   M.   KOBLER. 


MODERATO. 


fri /!/■/; /i/-ir/i//»^ 


1.  It  dear  -  ly  ech  -  oes  in  the  breast  Like  music's  sweetest  string ;    It 

2.  It  gives  us  strength  to  do  and  bear ;  It  makes  the  heavy     light;      It 


M4-$n±m^m^ 


r  r  f 

warms  our  hearts  with  gen -tie  glow,  Like  sun  -  ny  days  of    Spring, 
makes  the  rough -est    pathway  smooth, And  cheers  the  darkest     night. 

3  It  smiles  within  the  clay-built  hut,      4  This  treasure  rich  is  cheerfulness, 
As  in  the  princely  dome :  To  willing  bosoms  given  ; 

Sweet  smiles  of  peace  serene  are  seen,    From  heavenly  truth  and  good  it  flows, 
Where'er  it  makes  its  home.  And  turns  again  to  heaven. 

[Concluded  from  opposite  page.] 

3  The  fresh  breezes  revel  the  branches  between  ; 
The  bird  springs  aloft  from  her  covert  of  green  ; 
Our  dog  waits  our  whistle,  the  fleet  steed  our  call ; 
Our  boat  safely  rocks  where  we  moored  her  last  fall, 

Our  boat,  our  boat, 
|f:  Our  boat  safely  rocks  where  we  moored  her  last  fall.  :J 

4  Where  clustering  grapes  hang  in  purple  we  know, — 
The  pastures  and  woods  where  the  ripe  berries  grow ; 
The  broad  trees  we  '11  climb  where  the  sunny  fruits  rest, 
And  bring  down  the  stores  for  the  lips  we  love  best, 

Love  best,  lore  best, 
|| :  And  bring  down  the  stores  for  the  lips  we  love  best.  :|| 

5  Dear  comrades,  farewell  I  ye,  who  join  us  no  more, 
Think  life  is  a  school,  and,  till  term-time  is  o'er, 
Oh !  meet  unrepining  each  task  that  is  given, 
And  happy  will  end  our  probation  in  heav'n, 

In  heav'n,  in  heav'n. 
f :  And  happy  will  end  our  probation  in  heav'n.  :|| 


150 


THE   NEW   SECOND 


THE  BIRTH-DAY. 


C.  G.  Hering. 


^w//,rijgr.pC' 


1    (  What  to  grace  thy  na  -  tal  day,    Dear  one,  shall    T         bring    thee,  ) 
(While  this  plain,  un  -stud  -ied  lay    With  true  heart  I  sing     thee?) 


If      I    twine  a        Win  -  ter  wreath     Of    the  frost  -  y        span    -  gle, 


mmwm 


n  r,  n.n,n^U 


m 


i 


S 


f 


#Ht_#_ 


f 


Noon-day, with  its  melting  breath,Each  bright  gem  would  man    -    gle. 

2  Buds  that  opened  in  the  Spring 

Summer  suns  have  faded ; 
Flow'rs  that  dropped  from  Summer's  wing 

Autumn's  fruit  o'ershaded. 
Summer  stems,  and  Autumn  fruit, 

Winter  snows  drift  over ; 
Not  a  bud  or  leaf  peeps  out 

From  the  frosty  cover. 

3  Since,  then,  nature  naught  contains 

For  a  wreath  to  give  thee, 
Take  what  yet  unchanged  remains, — 

What  can  never  leave  thee: 
Love  that  heeds  not  Winter's  snow 

More  than  Autumn's  shading — 
Love  which  shall  forever  glow, 

Spite  of  frost  and  fading. 


THE  GROVE. 

N >     >     N 


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1     ('T  is  near    the  spot  in  which    I  dwell  There  stands  a  love  •  ly    grove,) 
'  \  En -compassed  by      a  charming  dell,     In  which    I  love      to      rove,  ) 


NATIONAL   MUSIC   READER. 


151 


M   t  1   iitt^^hkm 


£^£ 


To    seek     the    gen  -  tie    breez  -  es'    sigh,    And  hear    the  feath-ered 


1  J     }    J     1,1     t 


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P^E^ 


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song-  sters'  cry,    Cuck  -  oo,     euck  -  oo,      cuck  -  oo,      cuck  -  oo,     To 


I 


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seek    the    gen    -  tie    breez  -  es'    sigh,    And  hear     the  feath  -  ered 


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song-sters'  cry,  Cuck  -  oo,  cuck-oo,    cuck  -  oo,    cuck-oo,  cuck  -  oo. 


2  If  days  of  sadness  e'er  assail, 
I  hie  me  to  the  wood, 
Where  streams  of  pleasure  never  fail, 

Where  all  is  bright  and  good : 
'T  is  here,  when  no  one  else  is  nigh, 
I  hear  the  cuckoo's  cheerful  cry, 
Cuckoo,  cuckoo,  cuckoo,  cuckoo, 
'T  is  here,  etc. 


8  When  days  oi  joy  come  o'er  my  head, 
I  seek  this  charming  scene, 
Alone  along  the  valley  tread, 
And  view  the  lively  green ; 
And  who  so  happy  then  as  I, 
In  hearing  oft  the  cheerfnl  cry, 
Cuckoo,  cuckoo,  cuckoo,  cuckoo, 
And  who  so  happy,  etc. 


152 


THE   NEW   SECOND 


MERRILY  EV'RY  HEART  IS  BOUNDING. 

D.  L.  U.  D.  L.  U. 


It-ri-r-f 


Ta 


la 


0        P  b 

Ta-a-a  na      Te-e-e    ne 


I  I 

Ta        Ta 


m- 


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Te      re 


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Ta 


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D. 


r — p  ■{'•  p  1  r  -r--HI 

Ta        Te        re        le  Ta       Ta        Te 


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m 


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rr 


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Mer  -  ri   -  ly  ev    -  *ry  heart  is  bound  -  ing,  Mer  -  ri    -  ly 

Joy  -  ful  -  ly  now     the  news  is  sound  -  ing,  Joy  -  ful  -  ly 

2    ( Cheer  -  i    -  ly  ev    -  *ry  face  is  beam  -  ing,  Cheer  -  i     -  ly 

'  (  Play- ful  -  ly  ev    -  ry  eye  is  gleam  -  ing,  Play  -  ful  -  ly 


$ 


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-n   rs   n 


4 


^-T-1 


=P=P==£I 


yf 


oh!  Merri-ly      oh! 

oh !  Joyfully  [Omit. 

oh !  Cheeri-ly      oh ! 

oh !  Playfully  [Omit. 


i .      u      W 

v     p     y 


1/   t 


'  1  oh  '    [     '^0  ^e  wo0(^s  we  go?  Where  the 
'  1  oh !   !"      ^n  *ne  fields    a-way,  We  will 


i 


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vio  -  lets  grow,  Where  the   vio  -  lets  grow,  To    the  woods     we    go. 
rove    to  -  day,     We     will  rove    to  -  day,     In     the  fields       a  -  way. 


i 


1 


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J 


' 


F 


r — t 


' 


Mer  -  ri    -  ly        ev 


ry    heart        is  bound  -  ing,        Mer  -  ri   -  ly 


NATIONAL   MUSIC   READER. 


153 


"^4 N- 


i 


* 


^-/ ;  i  t-t-t± 


f^r=?=^=T — Tfttrrrft 


oh! 


Mer-ri  -  ly     oh! 


Mer  -  ri  -  ly,  Mer  -  ri  -  ly,  Mer  -  ri  -  ly 


m 


j. 


*=* 


oh !  .    .      Mer  -  ri  -  ly        oh  ! 


'- 


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Mer  -  ri  •  ly      oh  I 


I 


MODERATELY  SLOW. 

P 


M* 


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GOOD-NIGHT. 


p 


'& 


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r-f-r 


1.  Good  -  night !  good-night !  Now  to      all      a  kind     good -night! 

2.  Good  -  night !  good-night !  Now  to      all      a  kind    good -night! 

3.  Good  -  night !  good-night !  Now  to      all      a  kind    good -night  I 


i* 


i: 


m 


e 


-j  5    u    u 

O'er  the    sil   -  ver 

Stars      a  -  bove  their 

Till  the    sun,  the 


Lo !     the  moon  from  heav'n  is     beam  -  ing, 

An  -  gel-  like, while  earth    is     sleep  -  ing, 

Slum  -ber  sweet- ly    till    the    morn  -  ing, 


I 


m 


1 


' 


r 


r 


*  t 


wat  -  ers  stream -ing;  'Tis  the  hour  of  calm  de  -  light.  Good- 
watch  are  keep  -  ing,  As  the  star  of  Bethlehem  bright.  Good- 
world     a    -  dorn  -  ing,    Rise     in      all  his    glo-rious  might !  Good- 


m^ 


night ! 
night ! 
night  I 


Good    « 

Good    -    night ! 

Good   •    night  1 


Good  -  night ! 
Good  -  night ! 
Good  -  night ! 


154  THE   NEW   SECOND 

BEFORE  ALL  LANDS  IN  EAST  OR  WEST. 

FIRM   AND   STEADY.  j 


m 


?m 


1       h   J 


s 


g-^^Ff  r  r  r 


1.  Be  -    fore    all  lands  in      east    or    west,    I      love    my  na  -  tive 

2.  Be  -    fore    all  tongues  in     east     or    west,    I      love    my  na  -  tive 


m 


£ 


land  the  best :  With  God's  best  gifts  't  is     teem  -  ing ;  For  gold    and 
tongue  the  best:  Tho'  not    so  smooth-ly      spok  -  en,     Nor    wov  -  en 


L-S 


mwfrwmw^ 


jew  -  els  here  are  found;  And  men  of     no  -   ble  worth    a-bound,And 
with    I  -    tal  -  ian   art;  Yet  when  it  speaks  from  heart  to  heart,  The 


I 


IM 


3 


m 


i 


^m 


eyes    of    joy    are  beam  -  ing,   And    eyes    of      joy    are  beam  -  ing. 
word  is     nev  -  er    brok  -  en,     The    word  is       nev  -  er    brok  -  en. 


3  Before  all  people,  east  or  west, 
I  love  my  countrymen  the  best, 

A  race  of  noble  spirit : — 
A  sober  mind,  a  generous  heart, 
To  virtue  trained,  yet  free  from  art, 
|| :  They  from  their  sires  inherit.  :|| 

4  To  all  the  world  I  give  my  hand ; 
My  heart  I  give  my  native  land, 

I  seek  her  good,  her  glory ; 
I  honor  ev'ry  nation's  name, 
Respect  their  fortune  and  their  fame, 
II: But  love  the  land  that  bore  me.: II 


WITH   ANIMATION. 

mf 


NATIONAL   MUSIC   READEE. 
PROCRASTINATION. 

^        N        v    _N 


W? 


155 


t^ 


8 


^ 


I  p         I  P         V         V         V         '  ? 

1.  "Not    to  -  day,    we  '11  do      it      to  -  mor  -  row,"  La  -    zy       peo  -  pie 

2.  But      to  -  day 's    as    good  as      to  -  mor  -  row ;     If      you    wait,  't  will 


i 


qri 


S 


say  to  their  sor  -  row, "Yes,    to  -  mor  -  row     is      the        best ; 
be    to  your  sor  -  row  :   Ev  -  'ry  day 's    its  prop  -  er        task. 


N  7    7 


mm 


£ 


V 


£ 


± 


V 

Then,   oh,   then,  how    hard     I'll      la  -    bor! — -But      to  -  day      my 
What   is     done,      I        see       it     plain  -  ly ;     What    will  come,.     I 


-9 ^ 


r 


^=^ 


^ 


f'-f -t  '       I       j.i  Jm 

^    *     i  i  — -y 


±=± 


I 


v— r 


self    will    fa  -  vor, — Yes,     to  -  day      I     still     will        rest.1 
look     for  vain  -  ly,    Then    de   -  lay     I  '11  nev   -   er  ask. 

3  This  before  us,  that  behind  us, 

Each  dull  moment  sharply  reminds  us 

Time  that 's  lost  is  never  found. 
What  is  floating  down  life's  river, 
Take  it,  or  its  gone  forever, — 

Moments  lost  are  never  found. 


4  Ev'ry  day  I  lose  for  to-morrow, 
In  the  book  of  life,  to  my  sorrow 

Stands,  a  blank,  unwritten  page ; 
Well,  then,  every  day  I'll  labor, 
Help  myself,  and  help  my  neighbor, 

In  each  work  of  love  engage. 


156 


THE    KEW    SECOND 


AT  DISTRIBUTION  OP  PRIZES, 


i 


From  the  French.-\- 

ALLEGRO  MODERATO. 
/ 


Immleb. 


^w  J   J I J 


S2 


N  »P 


•r 


f=f=r^=r=r=f=t 


m 


1.  Here  rich    and     poor      as  -  pire    with      e  -  qual  right  To    win     the 

2.  Yet     rich  -  er        rec  -  om-pense    to      him    re  -  mains  Who  gives  his 


£ 


£ 


± 


P^ 


F=f 


f=f 


£ 


u1 


I 


schol    -  ar's    lau  -  rel     crown,         The    fair     a    -  ward      of  Jus  -  tice, 
life  to     God     a   •    bove;         And    no -bier      yet      the  hope    that 


V 


^ 


r=r=f=?=§T? 


smil  -  ing    bright,  To        Mer  -  it's     prow  -  ess        and        re 

in       him    reigns         With      sim  -  pie      faith    and        hum  -    ble 


i 


V 


£ 


^ 


I 


$ 


i  r    r  '  r 


r 

nown, 
love, 


To       Mer  -  it's        prow    -  ess     and        re    -    nown. 
With     sim   -  pie        faith       and  hum    -    ble         love. 


3  To  view  th' eternal  hill  we  sighing  turn, 
While  ev'ry  grateful  longing  grows; 
So  grace  begets  desires  that  stronger  burn 
|[:  For  ev'ry  gift  that  God  bestows.  :|J 


4  O  glorious  dwelling,  city  of  our  God, 
How  beauteous  are  thy  holy  charms ! 
Oh,  may  we  gather  in  thy  blest  abode, 
(]:  And  rest  secure  within  thine  arms.  :| 


NATIONAL   MUSIC   READER. 


15? 


THE  BEE  IN  PLOW'EY  DELL, 


MODERATO. 


SlLCHER. 


W 


m 


m 


*=£ 


1.  The    bee,       in  flow  -  'ry       dell,  Is        ev  -    er         fly    -  ing 

2.  Who  told      the  lit   -  tie       bee  That    he      could     al  -  ways 

3.  *T  was  God,    the  bees  who    taught ;     He       hid    the      hon  -  ey 


I 


Stfci 


B 


S^ 


* 


r      '      u>      £        *  '—  w      v      y ; ./ 

here    and  there,  As        if  he       nev  -  er  tir  -  ed     were,     To 

hon  -  ey    find  With  *  in  each  flow'r    of  ev  -  'ry     kind,    E  - 

in     each  flow'r,  And  there  the      bees    may  find  their  store,  And 


& 


*—*t- 


£ 


& 


*=t=£ 


I 


s 


3=* 


fill,  to  fill,  io  fill,  to  fill,  to  fill  its  lit -tie  cell. 
nough,e-nough,e-nough,  e  -  nough,  e  -  nough  f or  him  and  me. 
draw,anddraw,anddraw,anddraw,  and  draw  it      free-ly     out. 


ON  THE  WATER. 

Heave,       yo 
Sail,  sail, 


p4m? 


ho! 
sail. 


Veazie. 


1= 


i 


+— f- 


*=£ 


9X[,     f      ¥ 

1.  Up,  up  with  the  an  -  chor,boys,        Yo  -  ho  I  heave,  ho,    yo-ho  !  The 

2.  Sail,  sail  now,my  gal  -  lant  bark,        Sail    on,   sail      on,  sail  on, We'll 


k 


Be 


$ 


11 


B 


£ 


£ 


t 


■v   r  v 

sails  are  bent,and  a  -  way    we    go,The  white-caps  gleaming  brightly. 
dash    a-long  with  a    mer  -  ry  song,Each  heart  so  gay  and  sprightly. 


158 


THE   NEW   SECOND 
THE  EVENING  TWILIGHT, 


German  Air. 


SOFT  AND  SLOW. 


*±±mw&H*g&m 


rT  r'r-rr 


1.  See!    the  sun    is    sink  -  ing  fast,     For    the  bus  •  y    day    is    past; 


mmmh^m^m 


Man  from  la-bor  now  doth  haste,      Peace-ful  joys  of    home  to  taste. 


2  Angels  to  watch  o'er  us  now, 
Heav'nly  Father,  sendest  thou ! 
Guarded  by  their  pow'r  and  might, 
We  shall  safely  rest  at  night. 


4  When  our  weary  eyes  shall  close 
In  the  peaceful  grave's  repose, 
Then,  O  God,  our  guardian  be, — 
Take  our  souls  to  dwell  with  thee. 


3  He  whose  eyes  in  sorrow  weep, 
By  sweet  dreams  is  lulled  to  sleep ; 
Angels  kind,  in  visions  bright, 
Lead  him  to  the  realms  of  light. 


5  When  th'  eternal  morn  shall  break. 
And  the  dead  from  sleep  awake, 
Take  us  to  the  realms  above, 
To  the  home  of  joy  and  love ! 


RURAL  DELIGHTS. 


Cttorus. 


From  "The  Seasons.' 


'n^r&^m 


f 


-"=^1 


1 


1.  Bright  -  ly,  bright  -  ly  gleam      the     spark-ling      rills 


UJ^i 


i 


* 


m 


p 


D— 1 *-     i 

Sum  *  mer,         §mn-mw        sleeps     on     ver  -  dant    hills  i 


NATIONAL  MUSIC   READER. 


159 


Semi-  Chorus. 


r*S=t 


A  -  mid      the  shades  we,     ramb-ling,  stray, When  cool  -  ing  fountains 


:J- 


J^J        J.J 


^3? 


m 


i 


t 


s 


i 


r 


* 


= 


-&- 


sport  -  ive    play.  Peal  -  ing,    peal -ing,    come  the  laugh  and  shout ; 

Chorus. 


i 


m 


While      gay    -   ly    we    sing,    till    the      old       for  -  ests    ring,  While 


P  '    P 


- fe £, , pS S |_^1 


^ 


ITT 


gay  -    ly        we   sing,    till      the      old        for  -  ests  ring    With  the 


<U  jsjsJ 


sfc 


h    f> 


*Uur  J  n  i  i 


i 


a. 


^rr^n^rT 


^ — p~ 


T=r 


Z2£ 


joy    of  our  mer-ry     rout,    With  the    joy    of  our  mer  -  ry        rout. 

2  Odors,  odors  load  the  summer  air, 
Music,  music  sweetly  echoes  there ; 
And  brightest  maids,  with  softest  glance, 
There  join  the  song  and  lead  the  dance ; 
Pealing,  pealing  come  the  laugh  and  shout, 
While  gayly  we  sing,  etc. 

3  pp  Faintly,  faintly  sounds  the  distant  fall; 
Lightly,  lightly,  woodland  echoes  call ; 
And  in  their  voice  we  deem  we  hear 
The  tones  of  friends  once  gay  and  dear. 
/  Pealing,  pealing,  join  the  laugh  and  shout, 
While  gayly  we  sing,  etc. 


160 


THE   NEW   SECOND 


STUDENT'S  SONG. 

•         U.      D.     L.    U.      D.  L.  U.     D.     L.    U.      D.      L.      U.      D.    &    L.    &     U.    &        D.  L. 

Te  Ta  Ta  Te  Ta-a  Te  Ta  Ta  Te    Ta  Ta    Te    Ta  fa  Ta  fa  Te  fe     Ta-a 


mmm 


H=;M=i 


1 


of        mer 
ing,      joy 


3 


..     f     A    -    wake        the    song 
'  I  The       notes  in  -  spir 


ry     greet  -  ing,  Sing 
re  -  peat  -  ing,  Sing 


:S=± 


I 


f 


g-  g  c.'.r  . 


Tra    la    la     la     la    la        la.    )     T   ,  •  ,,  .         j 

Tra    la    la      la     la    la        la.    j     Let      mirfch  to       W1S    '  dom 


i^M^t&Mm 


trib    -    ute       pay,       But       yet 


i^l 


be      mer    -  ry        when      we 


mf 


^f 


T~t 


I 


may. 


V        \>        U        V        V        U  I 

Sing       Tra     la      la        la      la      la  la, 

9  /,  fs      N      N      IS      N 


Sing 


I 


'H=H=tr=H 


V       /       V       V       ]/       V 
£ra    la    la    la     la     la        la,     Sing  Tra    la    la     la     la     la 

2  'Tis  well  for  thought  to  find  a  season,     Sing  tra  la,  etc. 
For  study  always  there 's  no  reason,     Sing  tra*  la,  etc. 
We  gather  knowledge  from  the  past, 
To  make  life  happy  while  it  last.     Sing  Tra  la,  etc. 


la. 


[Concluding  stanzas  on  opposite  page.~\ 


NATIONAL  MUSIC    READER. 


161 


LAUGHING  AND  SINGING. 


BRISKLY,  -WITH   LIGHT   VOICE. 


m 
p 


m 


^^^^ 


1.  Laugh  -ing      and      sing    -  ing,  Dan  -  cing     and  spring  -  ing, 

2.  Ev  -    er        be      striv    -  ing,  Use  -  ful    -    ly  liv      -  ing, 

3.  While     on      earth    dwell  -  ing,  Ban  -  ish      each  feel      -  ing, 

4- 


i 


i 


r^rwy 


y  r   f    t^r 


Mer    -  ri    -    ly      laugh  now,- 
All      that      is        good    and 
Lur    -  ing      the        soul  from 

Ta    f  a    Ta  fa    Te  fe 


-Yes,     laugh  while    you      may. 
is  no    -   ble       to       learn, 

the      path       of       the       wise. 


P 


fe^^ES 


m 


^rn 


mm 


-fi 


W^ 


W^m 


u 


Shroud-ed        in  sor 

Sea   -  sons     are        fly 
Laugh-  ing      and        sing 


row,      Dawn-eth      to    -      mor      -     row; 
ing,      Man  -  y        are  dy        -      ing, 

ing,     Dan  -  cing      and       spring    -   ing, 


m^hH~B^i  1 1\±  'M 


Q^r  r  f  r 

pass        gai    -    ly        to    -    day. 

then,        ev    -  er     should    burn. 

in  glad  -  ness       a     -     rise. 


Then     let      the        mo  -  ments 
Vir  -  tue's  flame  bright  -  ly, 
Now     let      all        voic  -  es 


[Concluded  from  opposite  page.] 

3  And  if  the  day  we  give  to  labor,  Sing  tra  la,  etc. 

The  evening 's  due  to  friend  and  neighbor,     Sing  tra  la,  etc. 

When  nature  needful  rest  designed, 

To  strengthen  body  and  the  mind.     Sing  tra  la,  ete. 

4  Tho'  care  will  come  and  tribulation,     Sing  tra  la,  etc. 
We  '11  sigh  not  in  th'  anticipation ;     Sing  tra  la,  etc. 
For  joy  will  soon  each  grief  dispel 

From  hearts  where  love  and  friendship  dwell.     Sing  tra  la,  etc. 


162 


THE   NEW   SECOND 


AUTUMN. 


NOT  TOO  FAST. 


S     9        S 


T 

V 


1.  A      no  -  ble  friend  good  An  -  tumn  is ;     He  comes,  his      treas-ures 

2.  A      no  -  ble  friend    old    Au  -  tumn  is;     He  comes,  his      treas-ures 


mm 


h  »  ,s 


y y y — ' — k -w 


£ 


r 


-y y 


•J 


bring  -  ing ;      To    tempt  the   taste,  and  please  the  sight,  His    silk  -  en 
bring    ing ;      To   tempt  the    taste,  and  please  the   sight,  His    silk  -  en 


1=* 


mm 


t; 


b      u      i        D~       p      if     \j     v     v     y     ¥.      y  *■  y 

fringe  he's   spin-ning;    Rich  fruit    he    scat  -  ters  from    his  wings,  And 
fringe  he's  spin-ning;     Old   Win  -  ter,    call      up    all   your  pow'rs,  The 


P 


iE=* 


tm=m 


E 


-i    t  '  r 


i 


z 


if      thou    dost      not    choose  them,   Blame    not    the      boun  -  teous 
snow    and   whirl  -  wind    mus    -  ter ;     We      trim    the        fire      and 


t 


?  N 


± 


ll 


t 


•         V         y         y  I  v 

friend    who    brings,  But       him      who    will       not         use  them, 

close      the     doors,   And     care       not    how      you        blus      -     ter. 


OUR  FATHER-LAND. 

Tune, —  "Autumn." 


Come,  one  and  all,  around  me  stand  ; 

Come  join  in  swelling  chorus ; 
And  praise  our  goodly  native  land, 

Our  father-land  that  bore  us. 


Old  ocean  bore  from  Mammon's  marts, 
The  plant  of  freedom  hither ; 

It  blossoms  yet,  and  glads  our  hearts, 
And  we  '11  not  let  it  wither. 


u.    & 


NATIONAL   MUSIC   KEADKK. 
THE  NEW- YEAR  SONG. 

D.        L.        R.      &       U.      &        D.      & 


103 


R.      &        U. 


|4  ^     [»     [» 

Te  fe     Te    fe     Ta      Ta     Te     fe    Te     fe     Ta    fa    Ta      Te   fe     Te    fe 


r-r-tr-uitrr^u-ts 


D.    L 


R.        & 


L. 


hr— ^lj— r— tr — ^1 


Til -a     fa      Te      fe      Te 


Ta-a 


fe 


r=i=H^H=t 


+  ?  f 


r~r  t 


1.  New-year     is     come ;    that 

2.  The  stern  old    year !     I  'm 


I  I 

he       should    find        us  The 

glad        he's     'part  -  ed!  And 


i^ 


m^ 


rrr 


same    old 
yet       I 


'tm 


^ 


T 
I 


TJ 


song,      we       mourn ; 
lov'd     him       well ; 


p  i   r 

But       all      our   faults    we 
He    brought  the    best,  while 


_N    » 


-#-r 


:st 


r — r — ria^ 


P       ^       ^       —       I  "J- f       f 

leave     be  -  hind    us,  With  the  year    that  now       is        gone. 

we,   weak-heart  -  ed,     Read    wrong  -  ly  what      be    -  fell. 

3  He  loved  us  :  though  he  brought  us  sorrow, 

He  always  taught  in  love ; 
We  left  the  lesson  till  the  morrow, 
And  so  did  not  improve. 

4  Now  thou  art  come,  with  smiles  so  pleasant  1 

But  say,  canst  thou  do  this, — 
Bring  back  our  earliest  new  year's  present, 
The  days  of  childhood's  bliss. 

5  Who  sends  thee,  doubtless,  sends  thee  giving 

As  good  as  we  can  crave ; 
Young  year,  we  hope  we  may  be  living 
To  bear  thee  to  thy  grave. 


164 


THE   KEW   SECOND 


ALL  YONDER  IN  THE  MEADOW. 


Veazie. 


Moderately. 


ii==£=r2 


gj=£=j 


taf 


v.      «—.'..,  w      d     t-     u     " 

1.  All      yon  -  der     in      the      mead  -  ow      Is        sun-shine,  clear  and 

2.  All      yon  -  der     in      the       moun  -  tain    Is        act  -  ive      life    and 


i= 


i- 


mmmmm 


r — 

bright;      All  yon -der  in      the      sha  -  dow  Is     cool  -  ness  and     de 

health ;      All  yon  -  der  in      the      val  -  leys  Is     rest     and  peace-f  ul 

slower.  ^        srs 


r 


i 


fl 


t^V^l 


light,     Is      cool  •  ness     and      de  -  light, 
wealth,  Is      rest     and   peace -ful     wealth. 

3  All  brightly  in  the  heavens, 
The  stars  at  even  glow ; 
All  lovely  bloom  the  flowers, 
II :  The  stars  of  earth,  below.  :|J 


4  Than  health,  or  wealth,  or  flowers, 
Than  stars  or  sunshine  bright, 
More  sweet,  more  blest,  more  lovely, 
|| :  When  heart  and  heart  unite.  :|| 


PART  IT.—  TEST  -  EXERCISES. 

It  is  recommended  that  before  taking  up  the  following  test-exercises 
the  pupils  go  through  the  first  twelve  charts,  of  the  New  Second 
Series,  and  the  first  eighteen  pages  of  the  New  Second  Music  Eeader. 
according  to  directions  on  page  3. 

These  test-exercises  are  designed  to  be  used  as  follows: — 

First,  the  teacher  writes  the  exercises  upon  the  blackboard. 

Second,  calls  for  volunteers  who  think  they  can  sing  the  exercise 
all  alone.  Perhaps  twelve  will  indicate  their  willingness  to  do  their 
best. 

Third,  the  volunteers  are  numbered,  1,  2,  3,  etc. 

Fourth,  each  pupil  is  to  sing  the  exercise  through,  as  follows: 
Number  One  commences  at  a.  When  One  has  sung  the  first  four 
measures,  and  commences  at  b,  Number  Two  commences  at  a,  when 
they  will  be  singing  together.  When  Number  Two  commences  at  b; 
Number  Three  begins  at  a;  and  so  on. 

If  any  fail  to  commence  at  the  right  time,  or  be  thrown  out  of 
tune,  this  should  be  regarded  as  a  break  in  the  chain,  and  the  defect- 
ive link  should  be  cast  aside. 

This  being  in  the  spirit  of  a  game,  it  will  excite  a  good  deal  of 
interest  in  the  whole  class,  so  that  on  a  second  and  third  trial  others 
will  volunteer,  and  those  who  failed  will  like  to  try  again.  In  schools 
where  twenty  minutes'  time  each  day  is  devoted  to  music,  it  would 
be  well  to  give  one  lesson  each  week  to  this  or  some  other  exercise 
which  would  test  the  progress  of  the  pupils  individually. 

The  pupils  should  beat  the  time,  and,  after  a  clear  explanation  by 
the  teacher  as  to  how  the  exercises  are  to  be  performed  (the  key  and 
rate  of  time  being  given),  should  be  left  entirely  alone.  It  will  be 
better  for  the  teacher  to  be  out  of  sight  of  the  pupils,  during  the  per- 
formance of  these  exercises,  which  should  never  be  sung  otherwise 
than  as  explained  above. 

The  following  exercises  are  by  Dr.  Lowell  Mason. 
1.  a.  b. 


^H^l^^^i 


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166 


2.  a. 


THE   NEW   SECOND 
b. 


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3.  a. 


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11.  a. 


NATIONAL   MUSIC    KEADER. 
6. 


167 


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The  following  exercises,  for  testing  the  ability  of  the  class  as  to 
their  independence  in  reading  music,  are  in  some  respects  more  simple 
than  those  in  the  form  of  rounds.  Teachers  can  take  their  choice 
between  the  two.  As  these  exercises  are  much  longer  than  the  rounds, 
they  are  to  be  sung  from  the  books,  the  pupils  beating  the  time,  and 
proceeded  with  as  follows: — 

Take  as  many  pupils  as  there  are  phrases  in  the  exercise;  have  one 
at  a  time  sing  only  one  phrase,  and  continue  in  order,  with  the 
melody  unbroken.  If  a  pupil  fail,  let  his  or  her  place  be  taken 
by  another  (volunteer),  and  begin  again  with  a  new  exercise, — that  in 
which  the  failure  occurred  being  regarded  as  unfit  for  further  test 
work  till  another  lesson. 

14.  a.  b. 


J-+H-J 


i 


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d. 


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168 


15.  a. 

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THE   ISTEW  SECOND 
b. 


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NATIONAL   MUSIC   READER 
d. 


169 


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24.  a. 


NATIONAL   MUSIC   READER. 

b.  c. 


171 


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25.  a.  6.  c. 

Tii  Ta  Te  Ta-a-e  Ta-afa  Te 


^^=^^k^^^~^J^^ 


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172 


27.  a. 


THE  NEW  SECOND 

6. 


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^££%m=^ni  n  -i-mJm 


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28.  a. 


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i 


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29.  a. 


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NATIONAL  MUSIC   READER. 


173 


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30.  a. 


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P«u  3|^ — j==P-^-H-g< — ¥ 


#-  •  -  * 


« #-T #— 0- 


-e  f  e 


Te    TaTa-a-anaTe  Te   Ta-afa  Te     Te-e-ene  Ta  Ta  Te-e  i 

d. 


gSti^M^faatL^BJ^g 


i 


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if  r TiL-^-ig 


i  i — h 


T'a-a-an'aTa-a-a  na  Te 


174 


THE   NEW   SECOND 


32.  a. 


P 


4  d^*-* 


T'a-'a-'an'aTa  za  fa  na  Te 


g^B^^^^^g 


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33.  a. 


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c. 

!S — h- 


d. 


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A 


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fa      Ta  r'a  la     Ta  ra  la 


mmm. 


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34.  a. 


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d. 


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NATIONAL   MUSIC   READER. 


175 


mu^iP  n\%z&j&sumi\ 


9- 


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35.  a. 


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d. 


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?=i>  •  — — -n  J .   J— j— h  i    i  si 


36.  a. 


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*- F— N 


<L 


/• 


I — J-# 


;i  J  J  j  jij^rji^^i  jj  ;i  ji  j  a 


^ 


-M— K 


frffi^Ff^^L^jj^^^TTT^l 


176 


37.  a. 


THE  NEW   SECOND 
b. 


M+^j^t^-j 


Ta  fa    Ta  fa  Te  fe    Ta  Ta  Te 


^^^^^^^^^^^mi 


w=M 


z=± 


iHniLuj 


jlPPENDIX— TIME-pES 


The  object  of  this  System  of  Time-Names  is  to  designate  the  position  of  each 
note  in  a  measure  of  whatever  kind  of  time. 

It  does  not  pretend  to  teach  or  develop  time,  but  simply  to  name  the  notes  in 
any  given  measure.  It  differs  entirely  from  the  Chevre*  System  of  Time-Names 
(which  has  been  adopted  in  the  Tonic-Sol-Fa  method  in  a  modified  form)  ;  as, 
in  this  system,  the  measure  is  the  unit,  but  in  the  Che'vre*  System  the  unit  is  a 
"pulse"  or  beat. 


APPENDIX 


TEACHING   TIME  WITH   THE  ADDITION   OF 

THE    TIME -NAMES. 


CHAPTER   I. 


SECTION  I.— Double  or  Tivo-Part  Measure. 

First.  The  pupils  are  to  be  taught  double  time  in  the  ordinary  manner, 
with  the  names  of  the  beats  (Down  and  Up),  accenting  the  down  beat. 

Second.  While  beating  time,  the  pupils,  instead  of  saying  Down-beat,  are  to 
say  Ta  (a  as  in  father)  ;  and  instead  of  saying  Up-beat,  they  are  to  say  Ta  (a  as 
in  fate). 


Down, 

Ta 


Up, 
Ta 


Example  1 

i 


D. 

Ta 


u. 

Ta 


D. 

Ta 


u. 
Ta 


M 


D. 
Ta 


u. 
Ta 


Where  a  sound  lasts  two  beats,  the  vowel  is  changed  with  the  Up-beat ;  as  in 

Example  2. 


2 


A 


-uxp-  mjTj:'i 


Ta       Ta         Ta-a 


Ta       Ta 


Ta-a. 


Example  3. 

At  rests,  the  names  are  to  be  uttered  in  a  soft,  distinct  whisper. 


*-J— I 


A 


Ta 


H 


Ta        Ta      Ta 


Ta        Ta. 


Commencing  with  the  Up-beat. 
^     Ta        Ta       Ta 


Example  4, 


Ta       Ta        Ta        Ta       Ta 


^^VrA 


SECTION   II.  —  Triple  or  Three-Part  Measure. 

The  beats  in  Triple  Measure  are  Down,  Left,  and  Up.  The  Down-beat  is 
accented,  and  the  Left-  and  Up-beats  are  unaccented.  Some  theorists  say  the 
Up-beat  is  slightly  accented. 

The  Time-names  are  Ta,  Ta,  and  Te  (e  as  in  me.) 


180  APPENDIX. —  TIME-NAMES. 

Example  5. 


^_i__^,^4J_j     j  l 


^    Down,     Left,       Up,       D.  L.         U.  D.  L.         U.       '     D.    L.   U. 

Ta        Ta      Te       Ta        Ta     Te         Ta      Ta      Te        Ta-a  Te 

Example  6. 
Commencing  with  the  Up-beat. 

I  J'lJ.-J    JU'  i  N    J    J  \J-Ji 

*      Te       Ta       Ta      Te        Ta-a     Te       Ta       Ta      Te         Ta-a 

Example  7. 
Sounds  three  beats  long,  in  three-four  time. 

1-* — * — '-\^-- — M    *'    j  i J-  I 

Ta       Ta       Te        Ta-a-e      Ta      Ta        Te       Ta-a-e 


SECTION  III.  —  Quadruple  or  Four-Part  Measure. 
The  beats  in  quadruple  time  are  Down,  Left,  Right,  and  Up.    Accented  upon 
the  Down  and  Right  beats.     The  time-names  are  Ta,  Ta,  Te,  Te  (e  as  in  met). 

Example  8. 

4  J     J     J     j  \J      J     j  J     J.J     J  |  J | 

Down,    Left,    Right,    Up,      D.    L.    R.    U.        D.        L.        R.       U.  D.  L.    R.     U. 

Ta      Ta      Te      Te     Ta-a   Te-e      Ta     Ta     Te     Te      Ta-a   Te-e. 

Example  9. 
Commencing  with  the  Up-beat. 


4  J  )J   j   J   J  [;;-.j  |  J   J   J   j>j.  i\ 

*    Te  Ta  Ta   Te  Te   Ta-a-e  Te   Ta   Ta  Te   Te   Ta-a  Te 


SECTION  IV.  —  Triple  time :  Three  Eighth-Notes  in  a  Measure. 
Example  10. 

0     Ta      Ta    Te     Ta-a   Te     Ta     Ta      Te     Ta-a  Ts 

Example  11. 
Commencing  with  the  Up-beat. 

l_£ij>_;^4J    ;  i/-/  j>  u    :i 

8     Te      Ta    Ta      Te      Ta-a  Te     Ta      Ta    Te      Ta-a 


APPENDIX. TIME-NAMES.  181 

Quadruple  Time.  —  Four  Eighth-Notes  in  a  Measure. 
Example  13. 

8   Ta  Ta   Te  Te  Ta-a  Te  Te  Ta  Ta   Te  Te  Ta-a-e  To 


SECTION  V. 

The  other  kinds  of  measures,  such  as  Jf  j£  ~  and    \r  are  to  be  regarded  as 

"4"  tt  "cr  ~tr  t 

two,  three  or  four  three-part  measures.      They  are  sometimes  called  compound 

measures ;  and  are  to  be  reduced  to  the  simple  measures  from  which  they  are 

derived,  and  named  as  simple  measures. 

Four  Three-Four  Measures. 

Example  13. 

I    j    j    J-f-J — ^-j-J — J — .Lf-J — M 

*  Ta      Ta       Te         Ta-a     Te  Ta       Ta       Te         Ta-a  Te 

Two  -4-  measures  put  together  produce  one  j?  measure,  as  in 
4  4- 

EXAMPLE    14. 

4      Ta       Ta       Te       Ta-a    Te      Ta       Ta       Te        Ta-a     Te 

There  are  three  different  ways  of  beating  six-part  measure:  —  First,  Down, 
Left,  Up,  twice.  Second,  the  first  half  with  the  Down-beat,  and  the  second  half 
with  the  Up-beat.  Third,  with  six  beats  when  the  time  moves  slowly,  viz.  Down, 
Down,  Left ;  Right,  Up,  Up. 

The  second  way,  that  of  two  beats,  is  generally  the  most  natural. 
Four  Measures  in  Three-Eight  Time. 
Example  15. 

I  /  £_jmj    /  i ^-^^J- ^| 

°     Ta      Ta      Te     Ta-a   Te      Ta     Ta     Te      Ta-a  Te. 

The  above  made  into  Six-Eight  Measure. 

Example  16. 

JL-JLJLJL.J       /  |/    £_/  ij       Jl\ 

Ta      Ta     Te      Ta-a  Te      Ta     Ta      Te      Ta-a   Te. 
Three-Eight  Time  made  into  Nine-Eight  Time. 
Example  17. 

°    Ta  Ta    Te   Ta    Ta  Te  Ta-aTe   Ta  Ta   Te    Ta  Ta  Te    Ta-a  7^. 


182  APPENDIX. —  TIME-MAMES. 

The  same  in  Nine-Eight  Time. 
Example  18. 

Ta    Ta  Te     Ta    Ta   Te    Ta-a   Te     Ta   Ta   Te     Ta    Ta   Te    Ta-a  Te 

Q 

There  are  two  ways  of  beating  the  time  in  ^  measure  :  —  First,  Down,  Left, 
Up,  three  times.  Second,  with  three  beats,  Down,  Left,  and  Up.  (Three 
eighth-notes  to  each  beat.) 

If  the  laws  of  accent  be  developed  carefully,  so  the  pupils  understand  them 
perfectly  in  Double  and  Triple  time,  they  will  spontaneously  manifest  them 
selves  in  all  the  varieties  of  compound  time,  and  in  all  the  subdivisions  of 
measures :  if  they  are  treated  practically,  and  not  talked  about  too  much. 


CHAPTER   II. 

Two  Sounds  of  Equal  Length  in  Each  Part  of  the  Measure. 

SECTION   I.  —  Two-Part  Time. 

When  there  are  two  sounds  of  equal  length  in  each  part  of  the  measure,  in 
two-part  time,  the  time-names  are,  Ta,  fa,  Ta,  fa. 

Example  19. 

Ta      fa       Ta      fa       Ta     fa       Ta        Ta      fa       Ta      fa      Ta       Ta 

Example  20. 
Commencing  after  the  Up-beat,  or  on  fa 

fa       Ta      fa      Ta       fa     Ta       Ta      fa      Ta      fa       Ta      fa      Ta     Ta 

Lead  the  pupils  to  observe  that,  in  examples  19  and  20,  Ta  and  Ta  come  with 
the  beats,  and  that  fa  and  fa  come  after  the  beats. 

The  Dotted  Quarter-Note. 
Example  21. 


Ta       Ta 


fa       Ta      fa      Ta      fa       Ta-a    fa       Ta      fa       Ta 

Lead  the  pupils  to  see,  in  this  example,  that  the  dotted  quarter-note  is  sounded 
during  the  two  beats.  That  the  eighth-note  after  the  dotted  quarter  is  sounded 
after  the  Up-beat. 


APPENDIX. —  TIME-NAMES.  183 

SECTION   II.  —  Triple  Time. 
Example  22. 


4  Ta  fa    Ta    fa    Te    fe      Ta     Ta  fa    Te      Ta  Ta  Te    fe  *  Ta-a   Te 


Ta  fa    Ta    fa    Te    fe      Ta     Ta  fa    Te      Ta  Ta  Te    fe 

Example  23. 
Commencing  with  the  Up-beat,  or  Te,  fe. 

4  Te      fe      Ta-a  fa    Te  fe       Ta-a  Te  fe      Ta     Ta  fa    Te    fe       Ta-a 

To  commence  promptly,  the  pupils  must  have  the  first  two  notes  in  mind,  w 
ps  to  begin  with  the  Up-beat. 

Example  24. 
Commencing  after  the  Left-beat,  or  with  fa,  Te,  fe. 

3   /  /  /Ls  .K  /  /  /  4j.    ^  ^  «Hj      ^1 

4     fa    Te  fe      Ta    fa     Ta    fa    Te   fe      Ta-a    fa    Te    fe      Ta      Ta 


SECTION  III.  —  Quadruple,  or  Four-Part  Measure. 
Example  25. 

I  /  /  /  jLjLjLjLjih—f  ^  j_ji 

4     Ta       fa      Ta      fa      Te      fe       Te      fe       Ta      Ta      fa      Te       TS 

Example  26. 
Commencing  with  Te,  fe. 

4      /     JO).       J>     J        J     1/     />     .£-_£     J     ;| 

4     Te      fe       Ta-a    fa      Te        Te      Ta      fa      Ta      fa      Te 
Example  27. 
Commencing  after  the  Up-beat,  or  on  fe. 

|    /  |J      ^    /    J  \    H*    ^-^—  ^    J     *  :| 

4      fe       Ta      Ta     fa      Te      TV  fe      Ta     fa      Ta    fa       Te     7? 


CHAPTER  III. 

SECTION"  I. —  Four  Sounds  of  Equal  Length  in  Each  Part  of  the  Measure. 

Double  Time, 

When  there  are  four  sounds  of  equal  length  in  each  part  of  the  measure  in 
Double  Time,  they  are  named,  Ta,  z'a,  fa,  na,  Ta,  za,  fa,  na. 


184 


APPENDIX.  —  TIME-NAMES. 
Example  28. 


3_}J=S-J-| 


Ta  za  fa  na  Ta  za  fa  na    Ta  fa  na  Ta 
Dotted  Eighth-Notes. 
Example  29. 

Ta-a-anaTa  fa    Tii   fa    Ta      Ta-a-anaTa  fa    Ta    Ta 
Triple  Time. 
Example  30. 

*      Ta  z'a  fa  na  Ta  za  fa  na  Te  ze  f  e  ne     Ta     Ta,  fa    Te 
Example  81. 

Ta-a-'a  na  Ta  za  fa  na  Te       Ta  fa  Ta  fa  Te  fe  Ta-a-a  na  Ta    Te 

Quadruple  time. 

Example  32. 


Ta  za  fa  na  Ta  za  fa  na  Te  ze  f e  ne   Te  ze  fe  ne    Ta    Ta  fa    Te      Te 

Example  83. 

4     Ta-a-a  na  Ta-a-a  naTe    fe   TS    fe   Ta-a-a  na  Ta-a-a  na  Te      Te 


CHAPTER  IV. 
SECTION"  I. — Triplets:  Three  Sounds  of  Equal  Length  in  Each  Part  of  the  Measure. 
Triplets  are  usually  marked  with  a  figure  3  over  or  under  them,  thus :  — 

When  there  are  three  sounds  of  equal  length  in  each  part  of  a  measure,  in 
Double  Time,  they  are  named,  Ta,  ra,  la,  Ta,  ra,  la. 

Example  34. 
o  3  13 

Ta    ra    la    Ta    ra    la     Ta   r3    la    Ta 


APPENDIX. —  TIME-NAMES.  185 

Triple   Time. 
Example  35. 

4       Ta    ra     la     Ta     ra     la     Te     re     le     Ta     ra     la     Ta     ra     la     Te 

Quadruple   Time. 
Example  36. 

Ta  ra   la   Ta   ra   la   Te  re    le  Te  re    le      Ta   Ta   ra   la  Te   re    le  Te 


SECTION"  II.— Sextolets,  or  Subdivisions  of  Triplets. 

The  triplet  is  rarely  subdivided.  In  this  respect  it  differs  from  compound 
time.  It  is  sometimes  found  subdivided  in  the  more  difficult  forms  of  rhythm. 
Below  are  the  Time-Names  of  one  subdivision  of  triplets,  in  which  there  are 
six  sounds  of  equal  length  to  each  beat. 

Example  37. 

Ta  fa    ra  fa  la  fa  Ta  fa  ra  fa   la   fa      Ta    ra     la     Ta. 

Farther  subdivisons  of  triplets  are  exceptional,  and  quite  outside  of  rhythmical 
feeling.  This  is  as  far  as  we  deem  it  necessary  to  provide  time-names  in  popular 
music. 


THE  NATIONAL  MUSIC  COURSE 

•  AIMS 

To  place  vocal  music  on  the  same  footing  as  the  regular  school  studies,  and 
enable  the  class  teachers  to  give  successful  instruction  in  music,  as  in  geog- 
raphy and  arithmetic,  under  competent  direction. 

IT  HAS  SUCCEEDED 

Fully,  as  the  list  of  places  using  it  proves.  The  testimony  of  teachers, 
superintendents,  and  musicians  is  unmistakable  evidence  of  its  excellence 
and  superiority. 

"  If  there  is  any  argument  in  pure  merit,  the  National  should  head  the  list  of  music 
courses.  .  .  .  Very  rarely  is  as  much  genius,  study,  and  research  devoted  to  the  prepara- 
tion of  a  series  of  books  as  has  been  given  by  Professor  Mason  to  the  National  Course. 
The  books  stand  the  severest  tests  of  time  and  use."  —  T.  E.  Hazell,  Special  Teacher 
of  Music,  New  York  City. 


MORE 

THAN 

ANY 

OTHER 


endorsed  by  wide  use  and  satisfactory  results, 
approved  by  musical  authorities  here  and  abroad, 
recommended  on  a  careful  examination  of  its  merits, 
enjoyed  by  the  teachers  who  teach  and  the  children  who  study  it. 


SOME   POINTS  OF  EXCELLENCE. 


i.  It  is  based  on  the  fundamental  principles  of  education. 

2.  It  combines  the  best  musical  theory  with  the  best  methods  of  teaching,  analogous 
to  those  followed  in  other  branches  of  school  study,  particularly  the  teaching  of  language. 

3.  The  instruction  is  comprehensive  and  thorough,  systematically  and  progressively 
developed  from  the  lowest  grades  to  the  highest,  and  fitted  to  the  schqol-room  and  the 
usual  course  of  study. 

4.  The  best  composers  are  represented,  and  the  best  song-writers. 

5.  The  music  is  taking  and  interesting  to  children;  it  wears  well,  and  does  not  grow 
stale. 

6.  The  literature  is  appropriate,  dignified,  and  improving.  _ 

7.  It  presents  the  fruit  of  the  best  musical  study  and  experience  in  all  countries. 

8.  It  is  endorsed  by  long  and  wide  use,  in  America  and  in  foreign  countries. 

9.  It  is  endorsed  by  practical  teachers  of  school  nr>"isic,  by  superintendents,  by  class 
teachers,  and  by  musical  experts. 

10.  Those  who  have  most  thoroughly  studied  the  System  are  most  firmly  convinced  of 
its  excellence  and  its  superiority. 

11.  Thoroughly  tested  under  most  varied  conditions,  it  is  beyond  the  period  of 
experiment. 

12.  It  is  fresh  and  abreast  of  the  times,  and  will  always  be  kept  in  line  with  the  newest 
approved  thought. 

13.  It  exerts  a  strong  influence  toward  the  good  order  of  the  scV  uol  and  the  refinement 
of  the  pupils. 

14.  It  not  only  appeals  to  the  musical  children,  but  awakens  and  develops  the  un- 
musical. 

15.  It  requires  but  little  time,  is  not  expensive,  and  can  certainly  be  handled  by  the 
regular  teachers  under  proper  supervision. 

16.  Properly  taught,  it  is  sure  to  produce  the  desired  result. 


GINN  &  COMPANY,   Publishers, 

Boston,  New  York,  and  Chicago. 


CLASSICS    FOR    CHILDREN. 


Choice  Literature;   Judicious  Notes;   Large  Type;  Firm  Binding 
Low  Prices. 


Hans  Andersen's  Fairy  Tales. 

*  First  Series  :  Supplementary  to  the  Third  Reader. 

*  Second  Series  :  Supplementary  to  the  Fourth  Reader. 
♦iEsop's  Fables,  with  selections  from  Krilof  and  La  Fontaine. 
♦Kingsley's  Water-Babies  :  A  story  for  a  Land-Baby. 
♦Ruskin's  King  of  the  Golden  River :  A  Legend  of  Stiria. 
♦The  Swiss  Family  Robinson.     Abridged. 

Robinson  Crusoe.     Concluding  with  his  departure  from  the  island. 
♦Kingsley's  Greek  Heroes. 

Lamb's  Tales  from  Shakespeare.     "  Meas.  for  Meas."  omitted. 

Martineau's  Peasant  and  Prince. 

Bunyan's  Pilgrim's  Progress. 

Scott's  Marmion ;   Lady  of  the  Lake ;  Lay  of  the  Last  Minstrel. 

Lamb's  Adventures  of  Ulysses. 

Tom  Brown  at  Rugby. 

Church's  Stories  of  the  Old  World. 

Scott's  Quentin  Durward.     Slightly  abridged. 

Irving's  Sketch  Book.     Six  Selections,  including  "  Rip  Van  Winkle." 

Irving's  Alhambra. 

Shakespeare's  Merchant  of  Venice. 

Scott's  Old  Mortality  ;  Ivanhoe ;  Talisman ;  Rob  Roy ;  Guy  Man- 
nering ;  Tales  of  a  Grandfather.     Each  complete. 

Johnson's  Rasselas  :  Prince  of  Abyssinia. 

Gulliver's  Travels.     The  Voyages  to  Lilliput  and  Brobdingnag. 
♦Plutarch's  Lives.     From  Clough's  Translation. 

Irving-Fiske's  Washington  and  His  Country. 

Goldsmith's  Vicar  of  Wakefield. 
♦Franklin :  His  Life  by  Himself. 

Selections  from  Ruskin. 

Heroic  Ballads. 
♦Hale's  Arabian  Nights. 

Grote  and  Segur's  Two  Great  Retreats. 


Starred  books  are  illustrated. 


CINN   &  COMPANY,   Publishers, 

Boston,  New  York,  and  Chicago. 


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^&7{s  /ru^iy  '^^^B  35639 


M118273 


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THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


THE 


National  Music  Course. 


BY 


LUTHER  WHITING  MASONs  formerly  Supervisor  of  Music,  Boston,  and 
recently  Director  of  Music,  Japan ;  JULIUS  EICHBERG,  Director 
of  Music,  Boston;  and  J.  B.  SHAB.LAND,  Supervisor 
of  Music,  Bostoty,-x, 

FIRST  AWARDS  AT  THE  DNIviSAL  EXPOSITIONS 


VIENNA,   1873. 


PARIS,   1878. 
— : — *_ — 


PHILADELPHIA,   1876  NEW  ORLEANS,   1885. 

More  than  any  other  approved  by.  musical  authorities  here 

and 
Mort-  tlum  any  of:  by  wide  use  isfactory 

up 

More  than  any  other  recommended  on  a   careful  examina- 
tion of  its  merits. 
More  than  any  oilier  enjoyod    by  the"   teachers    who   teach 
and  the  children  who  study  it. 


THE 


W  READY, 


New  Fir  Tew  Third  Reader, 

Independent  Reader,  A  leader, 


New  first,  New  Sec-  vy  third 

The  new  books  and  c 
and  s  Emits  of  fu 


of  Charts. 

of  the  old, 


>END  FOR  CIRCULARS  AJFJ)  INFORMATION. 


GINN    &    COMPANY,    Publisher 

BOSTON,  NEW  YORT.,  AND  CHICAGO 


